APPLE ][• COMPATIBLE
MUSIC
SYNTHESIZER
ALF PRODUCTS
The
Apple Music Synthesizer
Owner's Manual
Complete Instructions
for the
10-5-16
Apple Music Synthesizer
"the amazing thing about a Dancing Beat
is not how well he Dancos:
but that he can
Dance At All"
Copyright © 1980
ALF Products Inc.
1448 Estes
Denver, CO 80215
U.S.A.
Part Number 11-1-6B
(Replacing the previous 11-1-6
and 11-1-7.)
The information contained in this manual was believed to be accurate at the time
of publication. Although this manual has been carefully checked for accuracy by
our inebriated technical staff, we assume no responsibility for errors or
omissions. Independent verification of specifications is recommended in cases
where this entertainment product is to be used or modified for use in other
applications. ALF reserves the right to make changes in the product and/or
specifications without notice.
this manual is dedicated to
all those who struggled along
with the previous version
Praise be to Xerox,
creator of the Diablo" Hytype'":
but All Hope Abandon
ye who try to use the
Word Processing Enhancements
or the
Advanced Functions Groups
Project Engineers: Rick Harman, John Ridges, Philip Tubb.
Software Design: John Ridges, Forrest Thiessen, Philip Tubb.
Manual written by: Philip Tubb.
Manual graphics by: Rick Harman.
Automatic graphics by: John Ridges, Philip Tubb.
And 5 proofreaders who shall, for obvious reasons, remain nameless.
Please address all comments and suggestions to the appropriate person as
indicated above.
"Apple ][" is a registered trade mark of Apple Computer Inc.
CONTENTS
1. INSTALLATION
1-1 Installation
1-3 SLOT & UNITS chart
1-4 Operating tips
1-5 Problem checklist
2. INTRODUCTION
2-1
Block diagram
2-2
The INTRODUCTION program
2-3
Other programs
3.
ENTRY
3-1
Entering a simple song
3-12
Correcting mistakes
3-15
Entering rests
3-17
Subroutines
3-20
Loading and saving songs
3-20
Adjusting the tempo
3-22
Envelopes
3-26
Recommended reading
3-27
Sample song breakdown
3-28
Summary of commands
3-28
Type 1 commands
3-31
Type 2 commands
3-34
Type 3 commands
3-35
Type 4 commands
3-39
Tips
3-41
Song data format
3-41
Selected hex addresses
4.
PLAY
5.
DISCO
6.
PROGRAMMING WITH PE
6-2
An example
6-3
A few precautions
6-6
Synthesizer initialization
6-6
Song configuration
6-6
Reading the "suggested speed"
6-7
Tempo control
6-7
A sample session
6-9
Technical
6-9
Type A commands
6-10
Type B commands
6-11
Type C commands
6-11
Song data
6-13
Tempo command
6-13
Temporaries
6-14
Command numbers
6-15
Block diagram
PROGRAMMING
7-1
Initial izer
7-3
Partial initializer
7-3
Chroma
7-5
Pulse
7-6
Chroma example
7-6
Pulse example
7. PROGRAMMING with chroma
8. PROGRAMMING barehanded
8-4 Divisor calculation
8-5 Tuning
9. TIMING MODE
9-1 Connection
9-2 ENTRY & PLAY
9-3 Technical
10. LISTINGS
10-1 PERFORM
10-7 CHROMA
11. CIRCUITRY
11-1 Timing requirements
11-2 Signal descriptions
11-3 Access socket
11-3 TTL input requirements
11-3 Audio outputs
11-4 Schematic terminals
11-5 Schematics
11-7 Connector locations
11-8 Dimensions
11-9 Circuit card
11-10 Repair diagram
11-11 Component placement
This manual is published in a three-hole punched format, and is furnished with a
reusable binder. Three-hole punched manuals have long been standard in the
computer industry due to their versatility. They are easy to issue correction
pages and addondums for, and the user can combine several manuals on similar
topics into a single binder. ALF Products is proud to continue this fine
tradition. We hope you will enjoy this format, and encourage other manufacturers
to see the light.
1
INSTALLATION
1-1 INSTALLATION
Apple Music Synthesizer
make sure all 3 pins
go into the socket
1 UNIT
MONO AND STEREO
[x
I
I
^7
2 UNITS
MONO
RIGHT
LEFT
MIDDLE
LEFT
Q?s
2 UNITS
STEREO
3 UNITS
STEREO
Apple Music Synthesizer INSTALLATION 1-2
THIS MANUAL DOES NOT COVER USE OF THE APPLE II COMPUTER. READ THE MANUALS
SUPPLIED WITH YOUR APPLE, AND FAMILIARIZE YOURSELF WITH ITS USE, BEFORE
CONTINUING.
PLEASE READ THIS ENTIRE SECTION BEFORE BEGINNING.
Installation of your Apple II compatible music synthesizer is easy. Just follow
these instructions:
1. You will need an audio amplifier and speakers or a home hi-fi system. One or
two synthesizers can be used with a monophonic (mono) amplifier; and one,
two, or three synthesizers can be used with a stereophonic (stereo) amplifier.
Turn your amplifier off and the volume all the way down.
2. Turn the Apple off and remove the top cover.
3. Attach the audio output cable(s) to the synthesizer(s). One of the four
drawings on the opposite page shows how the cables should be connected
depending on how many synthesizers you have and what type of amplifier
you're using. You'll notice that the connectors on the end of the audio cable
can be plugged into the 3-prong connectors on the synthesizer circuit card in
either of two ways: with the slots in the plastic housings toward the circuit
card or away from it. You may plug them in either way. Just be sure all
three prongs go into the three holes in the plastic connector.
4. Plug synthesizer(s) into expansion slot(s). Any slots may be used, but when
using more than one synthesizer all slots used must be adjacent (see chart on
next page). Route the cable(s) out through one of the holes in the back of the
Apple. Replace the top cover of the Apple.
5. Plug audio cable(s) into amplifier or home hi-fi system. Any of a variety of
inputs may used, such as Aux (or Auxiliary), Tuner, or Tape Play. Do not use
Phono (phonograph) inputs. When two or more units are used in a stereo
system, connect one cable to the Left input and the other to the Right input
of the same type (e.g. Aux left and Aux right) as indicated on the opposing
page. When using one unit in a stereo system, use either left or right input;
and set the amplifier to "mono" if desired. When using the synthesizer, set
the amplifier to select the input used (Aux or Tuner, or Tape for "tape play"
or "tape in").
6. The synthesizer is supplied with several programs, on cassette tape or on
disk. These programs are written to run using Integer BASIC. (Optionally,
1-3 INSTALLATION Apple Music Synthesizer
programs are available for use with Firmware Applesoft. In this manual,
these will be referred to as the Applesoft versions although they will not
work with the version of Applesoft supplied on cassette tape for use with
Integer BASIC Apples. Note that when using Applesoft, FP must be typed
anywhere this manual says to type INT.) Each program which uses the
synthesizer has a line which contains information regarding the slot number
of your synthesizer, and some also have the number of units being used. This
line is always located at line 10. As supplied, all programs are for use with
one synthesizer plugged into slot 4. If you are using more than one
synthesizer, or if you have one synthesizer but it is not in slot 4, you will
need to change some of the programs. Each program must be loaded, line 10
modified, and then saved. At the beginning of the instructions for each
program in this manual the exact procedure required is explained. However,
the variable SLOT (and sometimes UNITS) is used in each such procedure. To
determine the value of SLOT and UNITS for your particular system, use the
chart below.
UNITS=1 UNITS=2 UNITS=3
SLOT=0 Synthesizers in slots: 0, 1 0, 1, 2
SL0T=1 Synthesizers in slots: 1 1,2 1, 2, 3
SL0T=2 Synthesizers in slots: 2 2, 3 2, 3, 4
SL0T=3 Synthesizers in slots: 3 3, 4 3, 4, 5
SL0T=4 Synthesizers in slots: 4 4, 5 4, 5, 6
SL0T=5 Synthesizers in slots: 5 5, 6 5, 6, 7
SL0T=6 Synthesizers in slots: 6 6, 7
SL0T=7 Synthesizer in slot: 7
IMPORTANT: When changing line 10 you must load the program, change line 10
carefully making sure the length of the line is not changed, and then save
the program. You must not save a program after it has been run, since it has
then modified itself and thus will not contain many important statements
which were originally present.
7. Turn your amplifier on. You are now ready to use the INTRODUCTION program.
The INTRODUCTION section (which follows this section) contains instructions on
running INTRODUCTION.
Apple Music Synthesizer INSTALLATION 1-4
OPERATING TIPS
Plug your Apple and amplifier into the same electrical outlet if possible.
Differences in ground potentials can cause difficulties when different outlets
are used. If different outlets must be used, or if the amplifier does not have a
three-prong (grounded) power cord, do this: when removing the synthesizer from
the Apple, always unplug the audio cable from the amplifier first . Similarly,
plug the synthesizer into the Apple prior to connecting the audio cable into the
amplifier.
Always turn the Apple off before inserting or removing any circuit card.
Some of the parts used on the synthesizer are static sensitive. Protection
against normal static levels is provided by other components on the circuit card.
No part should be removed from the unit except the audio cable. Otherwise,
damage could result unless special anti-static precautions are carefully
followed.
Any Apple circuit board can be damaged by excessive static. This particular
circuit board has been carefully designed to minimize the possibility of damage
(since only LS TTL type inputs are connected to the edge connector). However,
walking across a carpet while holding an Apple circuit card can "charge" you and
the card to voltages high enough to damage any electronic circuit. Therefore,
you should always hold the circuit card in one hand, and touch the metal case of
the Apple power supply with the other hand prior to inserting a board in the
Apple. This will allow the static charge to be drained through the third prong
(ground prong) of the power cord, rather than through the circuit card and the
Apple circuits.
Avoid dropping the synthesizer onto a hard surface or severely jolting the unit.
Otherwise the crystal may be damaged.
Should your synthesizer ever need repair, return the entire unit (including the
audio cable and software) to your dealer or to ALF. Your dealer can repair the
synthesizer if he is an ALF-authorized service agent; otherwise he can return it
to our factory service department for prompt attention. Replacement parts, such
as a new audio cable or owner's manual, can be obtained from your dealer or
from the factory.
1-5 INSTALLATION Apple Music Synthesizer
PROBLEM CHECKLIST
1. Load the program you are using. List line 10. Is is correct? If not, refer to
the instructions for the particular program being used.
2. If no sound is produced, check the audio cable connections. If one of the
three conductor plastic connectors has only two pins going into it (and the
remaining pin or prong is unconnected) there will be no output. If this is the
case, unplug the connector and plug it in correctly.
3. Check connections to the amplifier and all switch settings on the amplifier.
Do the amplifier and speakers work with other sound sources? If not,
replace.
2
INTRODUCTION
2-1 INTRODUCTION
Apple Music Synthesizer
The Apple Music Synthesizer is a simple three-channel synthesizer with direct
hardware control of pitch and volume. Other effects can be produced with
software. In normal use, each of the three channels is an identical and
independent "monophonic synthesizer". A monophom'c synthesizer is a musical
instrument which can produce only one tone at a time ("mono"— one, and "phonic"--
sound). Many conventional instruments are also monophonic. For example,
trumpets, flutes, and clarinets can each only play one pitch at a time. In
contrast, a piano can play several pitches at a time— unless you only use one
finger. A piano is called a polyphonic instrument (from "poly"— many). The Apple
Music Synthesizer is a polyphonic synthesizer since it can play three pitches at
once, or up to nine simultaneous pitches using three synthesizers.
In order to create a synthesizer which is low cost, hardware control has been
limited to control of pitch and volume. No other parameters can be controlled.
Using software, pitch control can be used to create vibrato, sliding, or similar
effects; and volume control can be used to create such effects as envelopes or
tremelo. Since these are software-generated, in many applications it may be
necessary to select only the most desirable effects to implement. The Apple may
not be fast enough to perform the necessary calculations for all these effects,
plus interpret a stored musical score, simultaneously. Note that waveform
control is limited to square waves. (Pulse waves may be created in certain
applications, see the CHROMA and BARE HANDED programming sections.)
A block diagram of the synthesizer is shown below:
AUDIO OUT
VOLUME
CONTROL
I
MIXER
1 { . 1
PITCH
GENERATOR
1
VOLUME
CONTROL
1
PITCH
GENERATOR
2
VOLUME
CONTROL
2
A
Apple Music Synthesizer INTRODUCTION 2-2
THE INTRODUCTION PROGRAM
A program named INTRODUCTION is supplied with the synthesizer. This program
will introduce you to various technical terms used in music synthesis. Each term
is explained and demonstrated with the synthesizer.
To run this program, you must have 24K or more memory. If you are using a DISK
II, you need 36K or more. (Using the Applesoft version, these figures are 20K
and 32K.)
First, load the program from disk or cassette tape. List line 10. It will be
10 SL0T=4. Find the proper SLOT value for your system using the table in the
INSTALLATION section. Carefully retype the line changing only the digit 4 to the
proper digit for your system. Now save the program on your disk. If you do not
have a DISK II, save the program using your own recorder to improve loadability.
The program is now configured for your system, and can be run any time you
like without having to change line 10. If you ever change the slot position of
your synthesizer(s), or purchase an additional synthesizer, you should do this
configuration procedure again. (A note for perfectionists with three
synthesizers: use a slot value one higher than normal to place the sound in the
"middle".)
All instructions needed to run the INTRODUCTION program, once it has been
properly configured as described above, will be displayed on the screen when the
program is run.
2-3 INTRODUCTION Apple Music Synthesizer
OTHER PROGRAMS
ENTRY is the most advanced program supplied with the synthesizer. It is used to
enter songs (usually from sheet music) and play them. Entered songs can be
saved on (and loaded from) cassette tape or disk. Full editing features are
available.
PLAY is used to play songs entered with ENTRY. Although ENTRY can also be used
to play songs, PLAY has the advantage of being significantly shorter than ENTRY.
Thus, it is faster to load and it allows songs entered on systems with more
memory to be played even if they cannot be loaded with ENTRY. PLAY has no
editing features, but it has a more general "play" command which, when used in
conjunction with DISCO, allows songs to be played in sequence.
DISCO creates a text file (execute file) which, in conjunction with PLAY, allows
songs to be played in a specified sequence. It can also randomize the sequence.
When used with a Timing Mode Input Board or similar Timing Mode arrangement,
whole "albums" of songs can be played back using a single command.
PERFORM is used from BASIC programs to play songs. Songs created with ENTRY
(or by any other means) can be played back using a CALL within your own BASIC
program. It can also be used to create complex multi-channel sound effects.
CHROMA is used from BASIC programs to create complex sounds. Effects not
possible with ENTRY, PLAY, or PERFORM can be created using CHROMA, processor
speed allowing. Although far more complex to use than any of the other
programs, CHROMA allows access to virtually all functions available on the
synthesizer.
Complete programming specifications for the synthesizer are presented in the
BARE HANDED section. Those who wish to program the synthesizer "bare handed"
(that is, without any ALF-supplied programs) will find the hardware programming
specifications they need to write their own assembly language or BASIC programs
in this section.
3
ENTRY
3-1 ENTRY Apple Music Synthesizer
The ENTRY program is used to enter and play songs. Notes, rests, and other
musical parameters are entered in a convenient sheet-music type format displayed
on the screen (video monitor), and selected from a "menu" of available notes
which is also shown on the screen. Songs entered can be stored on (and loaded
from) cassette tape or disk. A variety of other functions are available for
editing, stereo selection, and so forth.
To run this program, you must have 24K or more memory. If you are using a DISK
II, you need 32K or more. (Using the Applesoft version, these figures are 32K
and 40K.) Very detailed graphics are presented on the screen, so it is
recommended that a black and white monitor (such as the Sanyo VM4209 or VM4215)
be used rather than a television set, although good results have been obtained
using the Sup'r'mod II UHF channel 33 TV interface unit (from M&R Enterprises)
and the Sony Trinitron model KV 1513 color television.
First, load the program from disk or cassette tape. List line 10. It will be
10 SL0T=4 : UNITS=1. Find the proper SLOT and UNITS values for your system
using the table in the INSTALLATION section. Carefully retype the line changing
only the digits 4 and 1 to the proper digits for your system. (If you have a
Timing Mode Input Board, list line 20. It will be 2(3 TSL0T=8. Carefully retype
the line changing only the digit 8 to the slot number of your Input Board.) Now
save the program on your disk. If you do not have a DISK II, save the program
using your own recorder to improve loadability. The program is now configured
for your system, and can be run any time you like without having to change line
10 (or 20). If you ever change the slot position of your synthesizer(s) (or Input
Board), or purchase an additional synthesizer or an Input Board, you should do
this configuration procedure again.
ENTERING A SIMPLE SONG
Load the program if it is not currently in memory. Type RUN and press return.
The screen will go to hi-res graphics mode and display:
Si
— JJJvfM ,HN
" IHS DEL TIC ~*
t
MEASURE 1 PART 5966 FREE
KEY C
M
The number in front of "FREE" will vary according to memory size and other
factors. It indicates the number of notes which can be added, and will be
constantly updated as you enter and edit the song.
Apple Music Synthesizer
ENTRY 3-2
The first six measures of "America" are shown below:
«3
8&t
')•» a r f j i J j J i r f j ffetfpa
^
In order to enter the piece using ENTRY, it is first necessary to break the piece
up into "parts". Each part is an independent melodic line in which at most one
note is played at a time. It is best to choose each part so it is consistently
from the same melodic line in the music. This allows you to select appropriate
envelope settings for each line later on. The first part, called Part 0, is shown
below. It is the main melody.
jjujj i jyi^j ^^
To begin entering a new song, type NEW and press return. ENTRY will display
"NUMBER OF PARTS?". Just press return. This will make the song have only 1 part
(part 0). ENTRY now displays "SUGGESTED SPEED?". Since we don't really know
what the playback speed should be yet, just press return. ENTRY will assume a
speed of 255 (the slowest speed). ENTRY now displays "TITLE LINE 1". If you
wish, you can type in a line which will be shown on the screen when the song
plays. If you're not in the mood, just press return. The title lines can always
be entered (or changed) later. ENTRY will then ask for title lines 2 through 4.
Type titles if you like, or just press return for each line.
Part can now be entered. Note that under "MEASURE 1" the screen shows "KEY
C". If you turn paddle l's knob, a small flying saucer will move up and down to
the left of the two 4/4's. (If you get paddle by accident, then a small arrow
will move left and right instead. This doesn't matter. Try again with the other
knob.) This flying saucer is called the "cursor", and it is very important. The
cursor is a "pointer" to a particular item in the song. Currently, it is pointing
to the KEY C before the 4/4. The key of C is a "neutral" key having no sharps
or flats, and thus shows only as a blank space right before the 4/4.
Type KEY:1S and press return. A sharp sign will appear before the 4/4, and the
cursor will move over to the 4/4. KEY:1S directs ENTRY to write a key signature
of 1 sharp (S means "sharp", and F would be used for "flat"). This key signature
is written over whatever item the cursor is on. Since it was on the KEY C, the
3-3 ENTRY Apple Music Synthesizer
KEY C is overwritten with a KEY IS.
When the KEY IS is written, the cursor moves on to the next item in the song,
which is a time signature of 4/4. The place on the screen which used to show
KEY C now shows TIME 4/4 since the cursor is over the 4/4. "America" has a
time signature of 3/4, so type TIME:3/4 and press return. The 4/4 will
promptly change to 3/4, and the cursor will move on to the next item. The
screen now looks like this:
±3
1
nn
tIKXOI
JJANM. , UN
INS DEL Tit
MEASURE 1 PART 5906 FREE
QUARTER 240
■
You've only been at this for a few seconds, and already you've told ENTRY two
very important facts about "America", the song you're entering. Without these
details it would be very difficult to enter the song properly. Why, you're
probably half way to being a professional musician, if you weren't one when you
started.
Now the cursor is at the first of eight asterisks (*) displayed between the
treble and bass staffs, and the item the cursor is at is a QUARTER 240. These
eight items are special goodies that describe things about the song which don't
display well in sheet music format. This particular one indicates how long a
quarter note should play (240 time units per quarter note). While you will
eventually want to learn about these, they are not important now, and it is best
to skip over them at present. This is done using one of the paddles.
Turn one of the paddle knobs back and forth. If the arrow above "MEASURE 1
PART 5306 FREE" moves left and right, you're turning paddle 0, the "menu
paddle". If the flying saucer cursor moves up and down, you're turning paddle 1,
the "note paddle". Place the menu paddle (paddle 0) on your left and the note
paddle (paddle 1) on your right. Usually you'll have your left hand on the menu
paddle and your right hand on the note paddle; sometimes you'll have to let go of
the paddles to type on the keyboard (probably not very often). Turning a paddle
knob with one hand is almost always followed by pressing a paddle button with
the same hand. You see, turning the knob selects something (a menu item when
turning the menu paddle, or a note position when turning the note paddle), and
then pressing the button tells ENTRY to look at the position of the knob and do
whatever it is set for. Since the two paddles are used for different purposes.
Apple Music Synthesizer
ENTRY 3-4
you always press the button of the knob you have just adjusted in order to
activate the function you adjusted the knob to indicate.
For example, using your left hand only, position the menu paddle so that the
upward pointing selection arrow points to the right pointing arrow in the menu.
The screen will look like this:
m
^^-
xxxx-vx-xx
JJJtfM J^
MEASURE
QUARTER
1
248
- INS DEL TIC -*
5986 FREE
(The position of the flying saucer and the number of notes of FREE space
available may be different than shown.) The right pointing arrow is used to
move the cursor to the right. To cause a right movement, press the menu button
using your left hand. The cursor will move right from an asterisk meaning
QUARTER 240 to an asterisk meaning GAP 65535. To move the cursor right again,
press the button with your left hand again. The cursor now moves to TRANSPOSE
0. Press the button several times. The following items will appear: ATTACK
8192, DECAY 50, VOLUME 55000, SUSTAIN 0, and RELEASE 50. (Most of these items
specify an envelope. Envelopes are explained in the INTRODUCTION program.)
Pressing the menu button again moves the cursor past the last of the 8
asterisks, and END appears under MEASURE 1 to indicate that the cursor is now at
the end marker (that is, at the end of the song). This is where we will begin
entering the notes of part 0. The screen should now look like this:
m
m
xxxxxxxx
J J AW. ,un
&
MEASURE
END
■* *• INS DEL IIC "*
5996 FREE
If it doesn't, you probably didn't start with RUN ENTRY like you should have. (The
position of the flying saucer and the upward arrow, and the FREE number are not
important.) Ready to really get into entering sheet music? Here's part again,
just as a reminder:
3-5 ENTRY
Apple Music Synthesizer
J l JJJlJJf l ^ J l J
P
Using your right hand, turn the note paddle until the flying saucer is on the
second line from the bottom of the treble staff, like this:
r
m
ggj
«"«»'
rest o o m m m m
*«*-■ 3 ft P
1 "*
*" IMS DEL lit "»
INSURE 1
PftRT
1*
5986 FREE
■
This is where the first note of part should be. Still using your right hand,
press the note button. A quarter note will appear at the second line, and the
cursor will move over to the right. The pitch for that note is heard if you've
got your synthesizer plugged in and your amplifier set up right. The screen now
looks like this:
m
m
^m
xxxxxxxx.
JJJtfM ,HH
riERSURE
END
PART
IMS DEL TIC
5905 FREE
Normally when you type in something like TIME:3/4 or when you press the note
button, the time signature (or note or whatever the cursor is pointing at) is
written over and thus erased. However, erasing the end marker is not fun, so
ENTRY automatically inserts the note (or whatever is entered) in front of the end
marker. Then, when the cursor moves to the right, END is still shown under the
MEASURE number since the end marker is still there.
It's time to give your left hand something to do for a while. Just for fun,
position the arrow under the left pointing arrow in the menu (using the menu
paddle, of course). Press the menu button. This will cause the cursor to move
left. Under MEASURE 1, NOTE GN3 240 is displayed. That's the note you entered, a
G Natural in the 3rd octave (the octave number is an ALF creation and has
nothing to do with the rest of the world). "Natural" means it is neither sharp
nor flat. The 240 indicates the number of time periods long the note should be
during playback. (When you press the note button to enter a note, it is just
Apple Music Synthesizer ENTRY 3-6
played for as long as you hold down the button.) Remember the QUARTER 240 that
said quarter notes should be 240 time periods long? Well, they obviously are.
Move the menu arrow so it is under the move right arrow and press the menu
button. You're back to the end marker now. Isn't this exciting?
On to the second note. You've probably still got the note paddle set so the
flying saucer is on the second treble line. (If not, move it until it is.) Press
the note button. The next note is heard and appears on the screen. It is the
same as the first note. Now, turn the note paddle until the saucer moves up one
click to the space above the second line. Press the button to enter this note
(are you doing all this note-paddle stuff with only your right hand?). Not only
do you hear this note and see it on the screen, but also a bar appears between
the note and the flying saucer. This is because TIME 3/4 means that there are 3
(3/) quarter notes (/4) in a measure. Since the measure is now full, ENTRY
automatically shows a measure bar. You'll notice that there is a bar at this
point in the sheet music, too. If ENTRY and the sheet music don't seem to agree
on where to put the bars, then either the sheet music has a typo (that is, a
wrong note) or you've skipped a note or made some other error. Just by watching
the measure bars you can be confident that you haven't made any timing mistakes.
If you're looking ahead at the music for part 0, then you know that the next note
isn't a quarter note. It's a dotted quarter note, which plays for as long as a
quarter note plus an eighth note. (A dot always means to add the time of the
next shorter note to the note length shown.) You may well be wondering why
ENTRY always makes a quarter note whenever you press down the note paddle
button. Well, it's because a block is lit up under the quarter note in the menu.
When you press the note button, a note as long as selected in the menu (shown by
one or more blocks) is entered. To change from a quarter note to a dotted
quarter note, you position the menu arrow under the dot, which is just to the
left of the "3", and press the menu button (left hand, remember?). A block
instantly appears under the dot, and the block under the quarter note remains.
The screen now looks like this:
"il J J J
m
m
xxxxxxxx
.cr.JJAW. , It'll * «■«..»«&
■ n
MEASURE 2 PART 9 5903 FREE
END
u
Okay, fire away. Move the note paddle down two clicks to the space under the
second treble line, and press the note button. You see how you switch between
3-7 ENTRY
Apple Music Synthesizer
the left and right hand, usually rotating a knob and pressing a button with the
same hand? Since you generally keep your hands on the two knobs, you can enter
notes really fast. You don't even have to look at the screen when you are
entering several notes of the same length, because you can just count the
"clicks" the Apple's built-in speaker makes at each line or space on the staff.
(On some other music systems, you have to type in codes like the GN3 you saw on
the screen a while back, and this requires that you memorize the octave
numbers.)
To enter the next note, position the menu arrow to the eighth note and press the
button (I'm not going to remind you to use your left hand, since you've probably
got that all straight by now). The blocks under the quarter note and the "dot" go
out, and one appears under the eighth note, like this:
SS
_oJJAMU^. ,n»n
MEASURE
END
PART
- INS CELTIC -T
5902 FREE
Move the note paddle up a click to the second line, and press the button to enter
the eighth note. The screen now looks like this:
m
a
mm
XXX XXX XX
[)
REST O S '
n
2
•* ' • > BCl
"* «- INS DEL TIC "*
MEASURE
END
PORT
5901 FREE
Let's take a look back. Move the cursor left one. (You know how to do it, we
just did it a while back to see the first note displayed as NOTE GN3 240.) The
eighth note shows up as NOTE GN3 120. It's the same as the first note in this
part except it's half as long (only 120 time periods). That dotted quarter note
we're coming up to should be a quarter (240) plus an eighth (120) long. Back up
again to see it. Yep, NOTE FS3 360. But wait, doesn't FS3 mean an F sharp in the
3rd ALF octave? We didn't enter a sharp note. The reason for this is that the
key signature indicates that all F's should be sharp. So, ENTRY automatically
enters F's as being sharp, without the user having to specify it. Of course.
Back up three more times to get to the first note. Now, position the menu
Apple Music Synthesizer
ENTRY 3-8
pointer to the rightmost menu item, a little speaker with a right arrow under it.
Press the menu button, and a small block appears under the speaker/arrow.
Curious? Position the arrow for right movement, and press the menu button five
times to go past all the notes (do it fairly slowly, and pause a little extra at
the dotted quarter note). You'll hear the first 5 notes of "America". The
speaker/arrow activates playback during right movement. The timing of the notes
is still dependent on how long you press a button down, but don't worry. It won't
be during actual playback. You don't believe me, do you? All right, type PLAY and
press return. ENTRY shows "SET SPEED (255) AND PRESS BUTTON". Crank the menu
paddle up all the way (if may not actually get up to 255, but who cares?). ENTRY
doesn't happen to mention which button you should press, but it is the menu
button. Trust me. Punch it and ENTRY will play the song. A little slow, perhaps,
but we'll know better next time.
Let's put in another note. I'll bet you're thrilled at the prospect. Just select a
quarter note using the menu paddle, flash the note paddle up to the space above
the second treble line, and punch the note button. Here's a screen image just to
make sure we're together:
i JJJUJ^
^m
XXXXX.XXX
— JJJWA ,»bn
MEASURE
END
c:
H INS DtL TIC ~*
m
5908 FREE
Click up one to the third line. We're already set for quarter notes, so press the
note button. Twice. Now, click up and press again (you should take a look at the
music for part again so you'll know what you're doing). That completes another
measure. The display now shows MEASURE 4. This means the cursor is pointing to
an item which is in the 4th measure. In this case, it is the end marker which is
indeed in the 4th measure.
Faster now. Set for dotted quarter. Down a click and punch. Switch to eighth.
Down a click and punch. Now quarter. Down a click, punch, up a click, punch,
down, punch, down, punch. Last measure. Set for dotted half. (In case you
haven't noticed, you can't set for "dot" and then "half" because "half" turns off
"dot". Set "half" first, then "dot".) Okay. Up a click, and punch. We're out of
music (just the first 6 measures, remember?). Are you getting fast at it yet?
You will. It's easy. Lot's see the screen now:
3-9 ENTRY
Apple Music Synthesizer
J U-JO » J J r l J -J'-» U J J U-I^l
i
„JJWM J^
MEASURE
END
n
PART
- INS OIL TIE -*
■
5890 FREE
Type PLAY and press return. Let's try a speed of about 200 now. Adjust the
menu paddle to some number in the vicinity of 2(30. (Don't get too picky, it's not
important to get exactly 200.) Punch the button, and the first 6 glorious
measures issue forth.
Rapture! Ecstasy! Sublime delight! (Where's my thesaurus?) Ah, the joys of music.
And yet, that's just one part. Let's get on to THREE PARTS. Quick!
Fortunately, it is quick. First, we have to tell ENTRY that we want to add a
second part. Type EDIT and press return. ENTRY responds by showing:
^JUJiJ l JJ^J-^^
^
JJJ\hh>. JbH
[>
MEASURE 7
END
NUMBER OF PARTS" 7
"* *" INS DEL TIC '
D
5896 FREE
Since wo want 2 parts, typo 2 and press return. ENTRY then asks for the
"suggested speed". Just press return to leave this as it was before. It will
then display each of the four title lines. Just press return each time. The
screen now shows:
fc
m
s^
xxijixi*:
J.J-.J | J J r |J-J
J J JtfM , H k
MEASURE
KEY IS
PART e
-* <" INS tELTIE -»
n
3878 FREE
This is the beginning of Part 0, the part you just entered. The part just
created is Part 1. To see Part 1, type PART:1 and press return. The screen
shows:
Apple Music Synthesizer
ENTRY 3-10
S
J- a -.1: ::: i :t * x
J J AW. ,nn
MEASURE
KEY C
PART 1
- IMS c r:i. TIC -*
n
58?8 FREE
This is just like Part looked originally, except there are fewer notes of
"free" memory, and the screen shows "PART 1" instead of "PART 0". You now
proceed in the same fashion as before. Type KEY:1S (return) and TIME:3/4
(return). The music for Part 1 is as shown below:
i
m •
-=3
Use the right arrow function to skip over the eight asterisks, and enter the
first three notes as usual. The screen should now look like this:
*=3
f^f
xxxnxn
Pi^
J<Wtt>. JM
MEASURE
END
PORT 1
IMS DEL TIE
5875 FREE
Type PLAY and press return. (As usual, set the speed and press the paddle button
to start playback.) You'll notice that only the first measure is played. Playback
always stops when the end of the highest numbered part is reached. Since we've
only entered the first measure in Part 1, and Part 1 is the highest numbered
part, only the first measure is played. Enter the remaining notes of this part in
the usual fashion. The screen will look like this:
')■■ 1 1 1 1 1 ^
JWM >#M
MEASURE
END
n
PART 1
"* ♦" INS DEL TIE ■*
■
5862 FREE
Type PLAY and press return. (I won't tell you to adjust the playback speed
3-11 ENTRY
Apple Music Synthesizer
paddle since you've got that figured out already.) If there are any wrong notes,
back up and correct them. (More details on correcting wrong notes will be given
later in this section.) You're now ready to enter the third part.
Type EDIT and press return. Ask for 3 parts this time, and then press return to
skip the other questions. When Part appears, type PART:2 to go to the third
part. The screen shows:
f§^
xxxxxxxx
JJtfM .HN
I)
MEASURE
KEY C
PART 2
5S49 FREE
Begin as usual, typing KEY:1S and TIME:3/4, then skip the asterisks. Just for
fun, type PLAY and press return. When you press the paddle button to begin
playback, there is a brief flash and the hi-res graphics screen reappears. This
is because the end of the highest numbered part (now Part 2) is reached
immediately, since there are no notes entered in it yet. Now comes your big
chance to use the "bass staff", which has been ignored up to this point. The
bass staff is the lower five horizontal lines. The sheet music for Part 2 is
shown below.
^jffj i JjJirpJ i ^fiJJJig
Enter the first note. The screen now shows:
1 ^2 1
m
m
J J\Ntf. , hn
PART 2
RES! &
MEASURE
»
Enter the next nine notes. The screen shows:
" IHS DEL TIE ~*
■
5848 FREE
Apple Music Synthesizer
ENTRY 3-12
#3
i
! '>»¥ r r J ' J J J i r r J » J
JWM .Jb^-^J
MEASURE 4 PART 2
END
HS DEL TIE
□
5839 FREE
The next note is sharp, so use the menu paddle to light up the sharp sign in the
menu, like this:
&
5839 FREE
■ n
MEASURE 4 PART 2
END
Now enter the note. The sharp sign in the menu disappears into hyperspace:
" J******* I I i_ : I
■ t
MEASURE 4 PART 2
END
8
Enter the rest of the part. The screen shows:
■ IMS DEL HE
5833 FREE
IS I I I, I ^
./ * * 4 " \ r« ff r * I
JJJtfM ,nu-— «ft
EI
MEASURE 7 PART 2
END
INS DEI TIE
■
533.3 FREE
Type PLAY to hear the song and check for errors.
CORRECTING MISTAKES
Back up to the first note in measure 5 (of Part 2). Let's say we want to change
3-13 ENTRY
Apple Music Synthesizer
this note so it is at the next space up on the staff. First, set the menu notes
for a quarter note, and put the cursor in the space above the note:
^JJAhAk ,nn
MEASURE 5
NOTE CN2 240
PART 2
- IMS DEL TIE -»
■
3833 FREE
Now just press the note entry paddle button (paddle 1, of course). The old note
is written over by the new note:
9£
1
RtSl O
MEASU
NOTE
J J -MM
?E 5 Pf
DNS 240
RT 2
"> *" INS CELTIC "*
5833 FREE
The rest of the song is not affected. Now, let's say we want to change the next
note in the measure into a half note of the same pitch. Set for half note,
position the cursor so it is over the quarter note's head (in order to get the
same pitch), and press the button:
3
m
m^
REST O C)
n
MEASURE
NOTE DN2
JAhXN. ,hh
6
240
PART 2
5833 FREE
What if we want to get rid of the first note in measure 6 (where the cursor is
now)? Just position the arrow for "DEL" and press the menu paddle button:
Apple Music Synthesizer
ENTRY 3-14
i
',*j i-i J J i r p J i J tt J p g J i
JAW. jm
MEASURE
NOTE GN2
6
720
PART 2
5834 FREE
IMS DEL TIC
Now, let's change our mind and put it back. It was a quarter note, so set for
quarter. Position the cursor on the middle bass staff line to get the same
pitch. We need to insert the note, so put the menu arrow under "INS" and press
the menu button to light up a block under it. Now just press the note button to
enter a note as usual. Instead of replacing the note the cursor is at, the
entered note will be inserted in front of it because "insert" mode is on:
m
Wf^f^
&m
«=p:
.ToJJAWtf. ,UN
MEASURE
NOTE GN2
6
720
~ INS BEL FIE -»
n ■
5833 FREE
Click the note paddle up one, and press the note button again. Another note is
thus inserted:
^m
m
w
£
J AAA JM
\>
MEASURE
NOTE GN2
6
723
- iris DCL TIE
n ■
5832 FREE
Now press the menu button while the arrow is pointing at "INS". The block of
light goes off. Enter a note. Since "insert" mode is no longer on, the old note
is replaced by the new one. Next, back up one and delete the last one of the two
similar quarter notes so the next demonstration will be more clear. Let's change
the remaining quarter note to a half note. We could set for half note and
reenter a half note over the old quarter note, or. . . leave the menu setting at
quarter note, aim the menu arrow at "TIE", and press the menu button. There is
a beep, and the cursor backs up. Now press the menu button once more to do
"TIE" again. The current setting (quarter note) is added to the note the cursor
is at. Since it was originally a quarter note and we added a quarter note, it
3-15 ENTRY
Apple Music Synthesizer
becomes a half note. (Note: the first time you pressed the button for "TIE", the
cursor was not at a note or a rest, so the tie could not be done. Since you
usually tie the last entered note, ENTRY backs up one when you do an illegal tie,
allowing you to just press the button twice to tie the last note.) Now set the
menu for a sixteenth note. Aim at "TIE" and press the button twice. The note is
now a half note tied to a sixteenth:
I
f-WV
J J ANNA , nn
t>
MEASURE
END
PART 2
-* *- IMS DEL TIC -»
t ■
5833 FREE
The vertical position of the note paddle cursor is not important during a "tie"
since the note paddle is not used. It is important to note that although the half
note tied to a sixteenth note is shown as "two" notes, it is really only one. If
you back up and look at it, you will see that the length shown is 540 time
periods, which is a half (480) plus a sixteenth (60). In fact, the little curved
line between notes always means that the multiple notes shown are really only
one note. This happens on tied notes and on notes that have part of their
duration in one measure and the remainder of their duration in the next measure.
Tie in a sixty-fourth to the last note, and you'll see that more than two "notes"
can be tied together to display a single note:
> j J ir r J i J ^ J r
m
J J AW. A\>k
MEASURE
END
PART 2
"* *" INS DEL Tit "*
f a
5833 FREE
In general, mistakes ar& corrected (or any desired changes 5re made) by using
the above functions (change a note, insert a note, delete a note, and tie
additional duration to a note) until the screen shows what you want. When using
these functions, only the current part is affected. In fact, the only functions
available in ENTRY that affect anything besides the current part are the NEW,
EDIT, STEREO, and SPEED commands which by their very nature must relate to the
entire song.
ENTERING RESTS
On occasion a part must sit around for a while and not play anything. This is
Apple Music Synthesizer
ENTRY 3-16
called a "rest". Rests are entered in much the same fashion as notes. There are
two main differences: the vertical position of the note cursor doesn't matter
(since rests don't have any "pitch"), and the menu paddle is used to enter a rest,
rather than the note paddle. Obviously, you point the menu arrow to "REST" and
press the menu button to enter a rest. The duration of the rest is determined
by the menu, just as the duration of a note is. Rests are displayed with
different symbols than notes. They correspond like this:
J J J> ) J i
I
f f
Let's start on a new song. (Actually, "song" refers to a musical composition with
lyrics. Technically, one shouldn't use "song" to refer to just any melody, but
there isn't any simple word available. Musicians use "piece" or "work",
apparently in an effort to avoid any disclosure that music is involved. In fact,
all artists use "piece" and "work" to describe their creations.) Type NEW and
press return. Press return 6 more times to avoid answering the useless
questions. Skip over the key and time signatures, and the eight asterisks.
Select quarter note, and press a REST. A quarter rest appears on the screen.
m
5
xxxxx* XX
s
,oJWWJ*. JM
RES
f ■
MEASURE 1
END
PART
~* <~ IMS DEL TIK ■*
■
5905 FREE
Now select sixteenth note duration and tie it onto the quarter rest. Oddly
enough, the screen shows:
m
^^
XXXXXXXX
m
J J WW. , KM
MEASURE
END
- IMS DEL HE -»
■T ■
5905 FREE
In traditional music notation, rests are never shown as being tied. This is
because there is no difference between, for example, a half rest and two quarter
rests during performance. The ENTRY screen display makes no distinction
between a rest which is as long as a quarter plus a sixteenth, and two rests the
3-17 ENTRY
Apple Music Synthesizer
first of which is a quarter and the second of which is a sixteenth. However, it
takes only one "right movement" to skip a single tied rest, and two to skip past
two individual rests. (Plus, two rests would take twice as much memory as a
single rest.) Incidently, when a large number of rests are tied together (for
example, in a part which doesn't begin playing until far into the song) the cursor
will be at the last of the rests displayed, and the measure number will reflect
the measure number the rest starts in. (This is true of notes, too.)
SUBROUTINES
Most people are familiar with the song "Row, Row, Row your Boat". If you're not,
become so. This song plays the same theme several times, and from several
parts. It seems that one would have to enter this theme several times. Since
repeated sections such as this are common in music, ENTRY has special
provisions for entering them. The sheet music for this song is thus:
}. >j>. j'i i
; ^)}i' S^t^fl
This theme must be entered in a special fashion which allows it to be played
many times. This is done using a subroutine. Type NEW and press return several
times (as usual) to start fresh. Now type SUBROUTINES and press return. The
screen will show:
$
^
JAh-M. JM
MEASURE
END
m
" INS DEL TIE -*
t □
5904 FREE
Type KEY:2S and TIME:2/4 to enter the key and time signatures. (Otherwise KEY:C
and TIME:4/4 are assumed.) Enter the first four measures of the theme in the
usual fashion. You'll notice that the next note is a triplet. Triplets are entered
in the same fashion as dotted notes. Just light up the block under the "3" after
selecting eighth note. Now press the note paddle button to enter the note. The
screen will show:
Apple Music Synthesizer
ENTRY 3-18
| h j j j I j , g 1 1^
;e
eg
t>
REST O <d «
<J • 3
1 P
T -* <- INS DEL TIC ~*
■
n
■
MEASURE
5
SUB
5891 FREE
END
The little 3 above the note indicates that it is a triplet. Conventional sheet
music notation shows triplets with a curved arc above the three notes and a
single 3. ENTRY puts a little 3 above each note. This is because ENTRY, unlike
conventional notation, allows the presence of a single triplet note (that is, a
single note with a duration equal to one of the notes of a conventional triplet
set). Press the note button twice more to enter the remaining two triplet notes
of that pitch, then enter the remaining three sets of triplets, and the rest of
the theme. The screen will show:
*
^
MEASUR
END
!
JAW. , tun
SUB 3
■ IMS DCL TIC "*
5875 FREE
Now type PART:0 and press return to go to Part 0. Type KEY:2S and TIME:2/4 as
usual, and skip the 8 asterisks. Now type CALL:0 and press return. A 9th
asterisk appears. During playback, this CALL causes the theme entered into its
associated subroutine to be played. (CALL:1 would play the theme entered into
SUBROUTINE:!.) Type PLAY and press return. The basic theme is played. Now, type
in another CALL:0 after the first one. Type PLAY again and note that the basic
theme is played twice.
Now EDIT the song to 2 parts. Type PART:1, KEY:2S, and TIME:2/4. This time,
instead of skipping the 8 asterisks, step forward until TRANSPOSE is shown. If
we played the basic theme exactly the same in both parts, they would be hard to
tell apart. So, type TRANSPOSED and press return. The TRANSPOSE is of
course thus changed to TRANSPOSE 24. The transpose function raises all
following pitches by the specified amount of quarter steps. There are 24
quarter steps per octave (2 quarter steps is the difference between two adjacent
keys on a piano, including both black and white keys), so TRANSPOSED will cause
this part to be played one octave higher in pitch than the other part. Skip over
the remaining asterisks. Part 1 is supposed to begin after Part has already
3-19 ENTRY Apple Music Synthesizer
been playing for two measures. Select a whole note duration and enter a rest.
It will show as two half rests due to the 2/4 time signature. Now type in two
CALL:0's. Type PLAY. A two-part round will be played.
Let's add a third part. EDIT the song to 3 parts. Type PART:2, KEY:2S, and
TIME:2/4. Skip to the TRANSPOSE setting again. Let's shift this part down one
octave. Oddly enough, to transpose down you take the number of quarter steps
you wish to transpose down, and subtract that number from 256. 256-24 is 232,
so type TRAMSP0SE:232. Now skip past the other asterisks. Punch in a whole
rest, then press TIE twice to make it two whole rests (which will display as
four half rests, again due to the time signature). Type in the usual two
CALL:0's. Now just type PLAY to hear the full three-part round.
Perhaps you've noticed that you really didn't need the KEY:2S's in the three parts,
since there aren't any notes anyway. You could have simply deleted the key
signature if you prefer. However, often there are notes in the part, and in that
case the key signature would be needed. In this particular instance, even the
time signature could have been deleted without affecting the song. Naturally, the
KEY:2S was needed within the subroutine, else the notes of the song would be
incorrect.
Here are a few things you should know about subroutines. You can have 100
subroutines numbered through 99. Always begin with subroutine and proceed
by l's. If you press RESET, or if you save a song and load it again, all the
subroutine numbers will be readjusted so they ^o begin with and proceed by
l's. A subroutine is created when the first SUBROUTINE command using its number
is entered. All subsequent SUBROUTINE commands with that number merely cause
the subroutine to be displayed and to be available for editing. (That is, the
first SUBROUTINE command for any given subroutine is like the EDIT command for
new parts. All future SUBROUTINE commands are like the PART command for
parts.) Once created, a subroutine cannot be destroyed. The most you can do is
delete everything in it. A CALL can be entered only to an existing subroutine.
(That is, you can't even enter a CALL to a subroutine you haven't created yet.)
Subroutines are not limited to notes and rests. You can put a TRANSPOSE function
in a subroutine, for example. Some things, like key and time signatures, can be
put in a subroutine to affect the notes entered in the subroutine, but they do
not affect the notes entered outside the subroutine, even after a CALL to the
subroutine. The summary of commands in this section tells the effects of each
command.
Subroutines can be used in a much more complex fashion than shown in this
simple example. For example, subroutines can contain CALLs to other subroutines.
If a subroutine contains a CALL to itself, the song will repeat forever (unless
Apple Music Synthesizer ENTRY 3-20
the highest numbered part does not use a subroutine which CALLs itself, in which
case the song will stop whenever the highest numbered part stops). NOTE: be
sure there is at least one note or rest in a subroutine that CALLs itself;
otherwise the playback routines will not continue processing all parts.
LOADING AND SAVING SONGS
If you want to save Row, Row, Row then you should type SAVE and press return, if
you want to save it on cassette tape. When saving a song to disk, it is
necessary to specify a name. For example, you could type SAVE:ROW and press
return. Names can contain any characters except comma, and can be up to 28
characters long. (Control letters and trailing spaces are ignored.) Disk
specifications like ",D2" or ",S3,D2" can be added after the name if needed. Note
that songs will appear in the catalog as Integer BASIC programs (even if your
system doesn't have Integer BASIC) and will have names that begin with "M:".
Songs are loaded the same way, using LOAD instead of SAVE.
The synthesizer is supplied with a few sample songs which can be loaded and
played. Additional songs are available at extra cost.
ADJUSTING THE TEMPO
Let's say we want to enter the "row" theme to play twice as fast with the same
paddle setting. That means each note will have to play for half as many time
periods. Type NEW and press return as required, enter the key and time
signatures, and you'll be at the QUARTER 240 function. Type QUARTER:120. This
will make all quarter notes be entered as 120 time periods instead of 240 (and
thus take half the time, so the song will play twice as fast). The other menu
notes' duration values will change proportionately. Skip over the other asterisks
and enter the theme. Now type PLAY and use the same paddle setting as you did
previously. The song does indeed play twice as fast. Type PART:0 to get back to
the beginning of the part, and skip over to the QUARTER function. Change it back
to QUARTER:240. You'll notice that all previously entered notes show as notes
half as long as originally entered. Examine any note by moving the cursor to it.
Notice that the length in time periods is still the same. You didn't change any
of the notes, only the QUARTER function, so of course none of the notes have
been altered. Obviously ENTRY stores notes based on their "time period" length,
and just computes the proper note to display based on the QUARTER setting. (And
the QUARTER setting determines the "time period" length of notes when they are
entered.) Since none of the notes have been changed, the song will still play as
it did before. In fact, you can skip right a measure or two (you might want to
look up the MEASURE command in the summary of commands) and i nsert a
QUARTER:120. Notes before the QUARTER function will be shown as half as long as
originally entered due to the QUARTER:240, and notes after the QUARTER.-120 will
3-21 ENTRY Apple Music Synthesizer
be shown as entered. None of this affects playback, but any new notes you might
enter would be based on the current QUARTER setting. Remove the inserted
QUARTER, if you put one there, and change the QUARTER at the beginning to
QUARTER:120 as it was when the notes were orignially entered. Now type SPEED:2
and press return. This will multiply the "time period" lengths of all notes in
all parts and subroutines by 2. Rest durations and QUARTER settings are also
multiplied by the specified amount. Now the song plays twice as slow (also known
as half as fast). In fact, it should look just like the original QUARTER:240
version, except that it used a subroutine and multiple parts. (CAUTION: the SPEED
command can be tricky to use. See the complete description in the summary of
commands.)
By typing in a QUARTER function wherever you need a different tempo, you can
make the song play at different speeds from section to section. Just remember
that the QUARTER function affects only notes which haven't been entered yet.
Another way to get unusual note durations is by using the LENGTH command. Let's
say you want to play five notes in the space of a single quarter note. A
standard quarter note is 240 time periods long, so each of your five notes will
have to be 240/5 or 48. Unfortunately, there aren't any menu notes that are 48
time periods long. So, type LENGTH:48. The block(s) under the menu notes
disappear to indicate a non-standard note length. All notes (and rests) you enter
now will be 48 time periods long. Give it a try by making a new song and
punching in five notes. The screen should look like this:
ip5
xxxxxxxx
JAhAN. , nn
IMS DEL TIE
I1EASURE 1 PART 5901 FREE
■
Since there is no representation for a note 48 time periods long, each note has
a small X. To cease entering non-standard notes or rests, just activate any menu
note. For example, put the menu arrow under the half note and press the menu
button, then do the same for the dot (".") to select a dotted half note. Punch in
a note, and the screen shows:
Apple Music Synthesizer ENTRY 3-22
m
xxxxxxxx
^
£f^p
MEASURE
END
• i ft P H "* ■*- IMS CEL TIE ~*
n
■
PART 8
5908 FREE
The measure bar shows that a full 4 quarter notes worth of duration have
occured, verifying that the five funny notes took up one quarter note of time.
ENVELOPES
Envelopes are a little complicated, and to really get the most out of your
synthesizer is going to require a little study, some effort, a fair amount of
calculation, and an awful lot of experimenting. Let's start at a very simple
level. If you aren't completely familiar with standard synthesizer envelopes, run
the INTRODUCTION program (see the INTRODUCTION section). Now that you're
familiar with the terminology, here's how it applies to the various envelope
commands. They are ATTACK, DECAY, SUSTAIN, RELEASE, VOLUME, and GAP. The first
point of possible confusion is with the VOLUME function. It does not set the
output volume like a volume control would. It sets the maximum loudness level
reached during the attack stage (that is, the point at which the switch from the
attack stage to the decay stage occurs). Both VOLUME and SUSTAIN specify a
loudness level. SUSTAINS selects a very low level (soft), and SUSTAIN:65535
selects a very high level (loud). ATTACK, DECAY, and RELEASE specify a rate of
change. ATTACK:0 selects a very slow increase rate, and ATTACK:65535 selects a
very fast increase rate. (Actually, 1 is very slow. is stopped, or no change.)
A blank song created with the NEW command contains some envelope settings which
are useful for testing songs. Usually you enter the basic notes of a song, play
around with the tempo (playback speed) if necessary using SPEED commands and/or
different QUARTER settings, and once you're satisfied with the tempo you go on to
the envelope settings. This is because the SPEED command doesn't change any of
the envelope settings. If you perfected your envelope settings and then used a
SPEED command, the envelopes would no longer be perfect. This is needlessly
complex to correct, so it is best to get the tempo going right before starting in
on envelopes.
To change the initial envelope settings, just position the cursor at the
appropriate setting and type in a new value. For example, if you wish to have a
slower attack rate, you might position the cursor at the ATTACK 8192 and type
ATTACK:7800. Few songs use the same envelopes on all parts or even the same
envelope throughout any particular part. At any point in a part, you can just
3-23 ENTRY Apple Music Synthesizer
"insert" new envelope parameters. During playback, the most recent setting (for
each part) is used for envelope production. Since there are notes (and rests)
between one envelope specification and another, the playback routines will not
"see" the later specifications in the part until the note before them is finished.
When they finish a note, they look at the next thing in the part. If it's not a
note or a rest, they make whatever change is requested (a new attack value, for
example) and then continue with the next thing in the part (until a note or rest
is finally found).
GAP is not mentioned in the INTRODUCTION program. Further, the INTRODUCTION
program claims that the sustain stage of the envelope lasts "as long as desired".
Usually, on a synthesizer or a piano, the sustain stage ends (and the release
stage begins) whenever the key being pressed is released (hence the word
"release", obviously). There aren't any keys to release in the music data. So,
the GAP function is used. It is used to specify how long before the next note
begins the release stage should begin. For example, using QUARTER:240 settings,
a whole note (960 time periods) played with a GAP setting of 240 would have
three quarter notes (960-240, or 720 time periods) worth of attack, decay, and
sustain; then one quarter note (240 time periods) worth of release. A rest
automatically starts the release stage if it wasn't already. Notes shorter than
the GAP setting have no release stage unless followed by a rest. GAP:65535 is
used when no automatic release stage is desired.
Now is the time for all good men to experiment with envelope settings. Don't
come back to this manual without experimenting for at least 7 million time
periods.
You are now ready for the serious explanation of envelope production. Although
theories change from time to time, today's leading scientists in enveology agree
on the "wandering loudness" explanation. This one seems to fit the reality of
the synthesizer most closely. The two main ingredients of this are "current
loudness" and "desired loudness". The current loudness refers to a number which
ranges from to 65535. This number divided by 256 is the actual volume setting
on the synthesizer at the moment. The desired loudness is also a number from
to 65535. The current loudness is "attracted" to the desired loudness, so it
attempts to get closer and closer to it. Once each time period, the current
loudness can increase by an amount less than or equal to the attack setting, or
it can decrease by an amount less than or equal to the "current decay" setting.
(Not to be confused with the "decay setting".) In this fashion, it will arrive at
the desired loudness as quickly as the attack/current decay settings permit.
Once the current loudness collides with the desired loudness, the desired
loudness spontaneously changes to a new value, called the "current sustain level"
(not to be confused with the "sustain setting"). Probability states that the new
Apple Music Synthesizer ENTRY 3-24
desired loudness may be different than the current loudness (although the
current loudness is equal to the old desired loudness), so the current loudness
must again seek the desired loudness. This astounding natural process continues
at all times during playback. The current loudness cannot be affected directly,
so it must be "guided" by selecting appropriate parameter settings.
Notetrinos generated using a high-power paramatron at the University of Northern
South Dakota (just across the border from Hoople) have revealed the following
characteristics of these settings. (What?) When a new note begins, the most
recent decay setting is written into the "current decay" rate, the most recent
volume setting is written into the "desired loudness", and the most recent
sustain setting is written into the "current sustain". This causes the attack and
decay stages of the envelope to occur, since the current loudness (and thus the
synthesizer volume) will raise (at the attack rate) to the selected volume level,
at which time the sustain level becomes the new desired loudness, causing the
current loudness to drop to the sustain level (at the decay rate). Once the
sustain level is reached, the desired loudness stays constant (since it is equal
to the current sustain setting which would normally become the new desired
loudness) and thus the sustain stage of the envelope occurs until something
changes.
Something changes when either (a) the time remaining for the current note equals
the most recent GAP setting, (b) a rest is encountered, or (c) a new note is
encountered. Case (c) has already been discussed (above). In either case (a) or
(b), the release stage must begin. This is done by writing the most recent
release setting into the "current decay" and a zero into the "desired loudness"
and "current sustain". The current loudness (and, again, thus the actual
synthesizer volume) then naturally drops to zero at the selected release rate.
This simple process generates a variety of complex envelopes, for single notes
or for several. Be ye not confused: each note does not necessarily have an
"attack" and "decay" stage (and so forth). In fact, if the current loudness is
greater than the latest volume level when a new note begins (for example, the
volume setting was just lowered drastically before this note, and the previous
note had been at a very high volume with too slow a decay/release rate to drop
very far), the note would begin with a "decay" stage, since the current loudness
would have to go down to intercept the desired loudness (which would be the new
volume level). Thus, the envelope parameters are not limited to a single note.
In general, however, one will arrange the parameters so the envelope will be
limited to a single note.
Some examples are in order. Let's say we want a simple AD (attack-decay, or
"ping") envelope with a volume level of 55000. Further, let's say it is a quarter
3-25 ENTRY
Apple Music Synthesizer
note with standard QUARTER settings (240 time periods) and we want the first
16th of the note to be the attack stage, and the remaining 15/16ths to be a full
decay. The attack rate will have to be designed to take the current loudness
from to 55000 in 240/16 time periods. 55000/(240/16) is 3666.67 so we want an
attack setting of 3667. The decay rate will have to take the current loudness
from this peak of 55000 back down to in 240*15/16 time periods.
55000/(240*15/16) is 244.44 so we want a decay setting of 245. The loudness
contour will appear thus:
The GAP setting must be 65535 to avoid a release stage. Now, what if we played
an eighth note with this setting? The loudness contour would appear thus:
-5*-|l5|<= 105 =>| \-
j\*= 120 _>J\.
225-
120-
I).
■H
240
If an eighth note is followed by a rest, the release stage will begin. Therefore
the release setting should be set to the same as the decay setting, unless you
want something different to happen on notes followed by rests. What if we
played a whole note? Behold:
960
Apple Music Synthesizer ENTRY 3-26
This assumes the sustain level was set to 0. What if it were 45000?:
This is almost an ADSR (attack-decay-sustain-release) envelope. All we need is
release. Let's say we want it to take half as long to release as the quarter
note example took to decay. That means we'll need a release rate which is twice
as fast, or 2*245 which is RELEASE:490. Now, it will take 45000/490 time periods
for the current loudness to drop from 45000 (the sustain level) to 0, so we need
a GAP setting of 45000/490 (which is 92) or greater if we want the release to go
clear down to zero. That looks like this:
45,000
-HI h 812 H 92 ll N 8i2 H 92 h—
15 15
0-< 960 =>■ <>■*£ 960
The sustain level need not be less than the volume level. For example, with a
sustain level equal to the volume level, you get an attack-sustain-release
envelope (organ like, using fast attack and release rates).
Experiment more with the settings. Draw graphs like the ones above if they help
you. Look at other people's envelope settings if you run out of ideas. Here's a
real tip: program what would normally be a whole part into a subroutine instead.
Then you can call it from two parts, and use different envelope settings on each
part (don't put envelope settings in the subroutine!). This will let you make more
complex sounds, especially using different transpose settings or by putting a
short rest before the CALL in one of the parts to delay it slightly (for an
"echo" effect) or both.
RECOMMENDED READING
For those of you who are unfamiliar with standard sheet music notation, or for
those who encounter some particularly obscure notation, there is an excellent
book which you can order from any bookstore. Just ask your local store to
order "Music Notation, A Manual of Modern Practice" by Gardner Read, Taplinger
Publishing Co. ISBN 0-8008-5453-5. In the unlikely event that you have no local
bookstores, you can order it from ALF (part number 11-2-1).
3-27 ENTRY
Apple Music Synthesizer
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Apple Music Synthesizer ENTRY 3-28
SUMMARY OF COMMANDS
ENTRY has four types of commands. They are:
1. Commands which are done immediately and have no effect on the song data.
2. Commands which are done immediately and have an effect on the song data.
3. Commands which are stored in the song data and do not affect playback
directly.
4. Commands which are stored in the song data and do affect playback directly.
All commands, except those entered using the paddles, are typed in using the
Apple keyboard in the following fashion. Each command has a "keyword", for
example NEW or VOLUME. Some commands have one or more parameters, in which
case the keyword is followed by a colon (:) and the parameter, for example
VOLUME:55000. Thus, a command is always entered by typing the keyword and
pressing return; or by typing the keyword, a colon, one or more parameters, and
pressing return. (Do not type any spaces.) Since the keyword is always followed
by a return or a colon, ENTRY has been written to allow abbreviation of the
keyword. You can shorten any keyword as much as you like, as long as there are
still enough letters to tell it apart from any other keyword. For example,
INTEGER can be shortened to just I since no other keyword starts with I.
SUBROUTINE can be shortened to SUB, but not to SU since it could then be either
SUBROUTINE or SUSTAIN. An example of a complete abbreviated command is SUB:0
instead of SUBROUTINES. The right and left arrows on the Apple keyboard can be
used to backspace and to forward space for error correction. When return is
pressed, only letters to the left of the flashing cursor are considered part of
the command, other letters are ignored. Control X can be used to clear the line
and start over.
In the bold type for each command, anything inside <broken brackets> is an
explanation rather than something to be typed literally. Anything inside
[brackets] is optional.
TYPE 1 COMMANDS
These commands arc done immediately. The song data is not changed at all.
JJAhA*.
o
.The seven note duration symbols, plus "." and "3", are used to select a new note
entry duration. (See REST and PADDLE 1 under Type 4 Commands.) They are
requested by pressing Paddle 0's button while the upward-pointing arrow is
aiming at the desired symbol. When one of the seven note duration symbols is
requested, a block is lit under it. All other blocks under note duration symbols
3-29 ENTRY Apple Music Synthesizer
(including "." and "3") are turned off. When "." is requested, the block under it
changes (becomes lit if it wasn't, or is cleared if it was lit). When "3" is
requested, the block under it changes.
UN
The three accidental control symbols are used to select accidental control for
future note entry (see PADDLE 1 under Type 4 Commands). They are requested by
pressing Paddle 0's button while the upward-pointing arrow is aimed at the
desired symbol. When one of the accidental control symbols is requested, the
block under it is changed (becomes lit if it wasn't, or is cleared if it was lit)
and the blocks under the other two accidental control symbols are cleared.
The left and right movement controls are used to move the cursor left or right.
They are requested by pressing Paddle 0's button while the upward-pointing arrow
is aimed at the desired symbol. When one of the movement control symbols is
requested, the cursor will move one item in the indicated direction. Movement to
the left of the first item in a subroutine or part is not allowed. Movement to
the right of the end marker in a subroutine or part is not allowed. When a
movement is requested which is not allowed, the request is ignored and the Apple
speaker will beep.
IMS
The insert symbol is used to turn insert mode on or off. It is requested by
pressing Paddle 0's button while the upward-pointing arrow is aimed at INS. When
requested, the block under INS is changed (becomes lit if it wasn't, or is cleared
if it was lit). "Insert mode" is on when the block under INS is lit, or when the
cursor is at the end marker of a part or subroutine. All Type 3 and Type 4
Commands are affected by insert mode.
t>
The speaker/arrow symbol is used to select playback during forward (right)
movement. It is requested by pressing Paddle 0's button while the upward-
pointing arrow is aimed at the speaker/arrow symbol. When requested, the block
under the symbol is changed (becomes lit if it wasn't, or is cleared if it was
lit). When lit, notes moved past with the right movement symbol, and notes
deleted with the DEL symbol, are sounded through the synthesizer.
GOTO:<0-8>
The GOTO command is equivalent to the PART command (a Type 1 Command) except
Apple Music Synthesizer ENTRY 3-30
that a MEASURE command (a Type 1 Command) is automatically performed after the
indicated part has been selected. The measure number used for the MEASURE
command is whatever measure number was displayed on the screen at the time the
GOTO command was entered. Sample command: GOT0:l (return).
INTEGER
The INTEGER command is used to exit ENTRY and return to BASIC. The current
song data is lost. ENTRY cannot be run again without first being reloaded. Note
that when using the APPLESOFT version, the INTEGER command is used to return to
BASIC, but APPLESOFT BASIC will be returned to rather than Integer BASIC.
LENGTH:<0-65535>
The LENGTH command is used to select a non-standard note duration. (See PADDLE
and PADDLE 1 under Type 4 Commands.) When entered, all blocks under the
seven note duration symbols and under "." and "3" are cleared. The indicated
duration is saved for future note and rest entry use. Sample command: LENGTH:48
(return).
MEASURE:<0-65535>
The MEASURE command is used to view a particular measure within a part or
subroutine. The cursor moves to the first item within the specified measure
number. MEASURE:^ is equivalent to MEASURE:1. If no such measure exists, the
cursor is moved to the end marker of the part or subroutine. Sample command:
MEASURE:249 (return).
PART:<0-8>
The PART command is used to view a particular part (and thus select that part
for possible editing). The cursor moves to the first item in the selected part,
or to the end marker for that part if there are no items in the part. Sample
command: PART:1 (return).
PLAY[:F]
The PLAY command is used to perform the current song (using a modified version
of the PERFORM program). A simple low-res color display is shown during
playback. In this display, each part has a blue horizontal line. In this line is
a yellow dot which marks the position of middle C for that part (this dot will
not be present when playing very high pitched notes). This middle C marker
slides left and right one or more octaves if necessary to show whatever pitch
range is currently being used. Above the horizontal line, a block is shown which
indicates the pitch being produced. Higher pitches are to the right of the
display. The color of this block indicates the approximate "current loudness" of
the pitch as follows: 0-4095 black, 4096-8191 magenta, 8192-12287 dark blue,
12288-16383 purple, 16384-20479 dark green, 20480-24575 grey, 24576-28671 medium
3-31 ENTRY A PP le Music Synthesizer
blue, 28672-32767 light blue, 32768-36863 brown, 36864-40959 orange, 40960-45055
grey, 45056-49151 pink, 49152-53247 green, 53248-57343 yellow, 57344-61439 aqua,
61440-65535 white (loudest). (Based on Apple's suggested color names; actual
colors may vary.) Ignoring the fact that there are two colors named grey, each
color represents any of 16 different actual volume settings on the synthesizer,
since there are only 16 colors for 256 settings. PLAY:F performs the current
song using the PERFORM program (that is, with no display). NOTE: both PLAY
commands change (a) the CHANNEL function settings and (b) the subroutine FE
bytes. These changes will not be apparent to the ENTRY user, but could affect
PERFORM users. See the PERFORM section for additional information. Sample
command: PLAY (return).
r
SAVED<song name>[<disk specifications>U
The SAVE command is used to write the current song data on cassette tape (o
whatever might be connected to the Apple's cassette output jack) or on disk. SAVE
saves the song to cassette tape. SAVE:<song name>[<disk specif ications>] saves
the song to disk. Both commands are used in the same fashion as the SAVE
commands in BASIC. One exception: song names may contain to 28 characters,
including any character except comma (for any character, including the first);
control characters and trailing spaces are ignored, but leading spaces are not.
Sample command: SAVE:GALACTIC TRIUMPH,D2 (return).
***DISK[:<comment>]
The ***DISK command increases the karma of the user when using DOS 3.1. This
command has no effect when using DOS 3.2 or a cassette based system. Sample
command: ***DISK: FILE NOT FOUND ERROR (return).
TYPE 2 COMMANDS
These commands are done immediately. They do not cause an item to be written
at the current cursor location, as Type 3 and Type 4 Commands do, but they do
affect the current song data.
DEL
The DEL symbol is used to delete the item the cursor is currently at. It is
requested by pressing Paddle 0's button while the upward-pointing arrow is aimed
at DEL. When requested, the item the cursor is at is deleted from the song data.
If it is a note, it is sounded through the synthesizer if the speaker/arrow block
is lit (see the speaker/arrow Type 1 Command). The end marker of a part or
subroutine cannot be deleted. If this is attempted, the Apple speaker beeps.
DELETE:<l-255>
The DELETE command is used to remove one or more items from the current part
Apple Music Synthesizer ENTRY 3-32
or subroutine. It is the same as one or more DEL symbol requests (above) except
the notes are never sounded and there is no "beep" when an attempt is made to
delete the end marker. The number of DEL's is selected by the <l-255>
parameter. More than 255 items can be deleted only using more than one DELETE
command. Sample command: DELETE:73 (return).
EDIT
The EDIT command is used to increase the number of parts, change the suggested
speed, and/or change any or all of the 4 title lines. Once entered, the command
proceeds to ask for the new NUMBER OF PARTS?, SUGGESTED SPEED?, and TITLE LINE
1 through TITLE LINE 4. If there is no change desired on any item, just press
return. Otherwise, enter the new value and press return. For each TITLE LINE,
the current line is displayed and can then be edited using the left and right
arrow keys on the Apple keyboard. Note that when return is pressed for a title
line, all characters to the right of the flashing cursor, and the character under
the flashing cursor unless it is the 40th character, are set to space. The
SUGGESTED SPEED must be from to 255. (1 through 255 select paddle speeds, and
activates Timing Mode.) The NUMBER OF PARTS? must be greater than or equal
to the current number of parts, but less than 10. (Remember you can only play 3
parts per synthesizer, and 1 less part when using Timing Mode.) If the number
of parts is increased, the stereo settings are set to standard settings (see NEW,
a Type 2 Command; and STEREO, a Type 2 Command). See SUBROUTINE (a Type 2
Command) for details on reduction of "notes free" when increasing the number of
parts. The cursor is set to the first item in Part 0. Sample command: EDIT
(return).
LOAD[:<song name>[<disk specifications!]
The LOAD command is used to load a song from cassette tape (or whatever is
connected to the Apple's cassette in jack) or disk. The song currently in memory
is lost. These commands are used the same as the LOAD commands in BASIC. See
SAVE (a Type 1 Command) for additional comments. The cursor is set to the first
item in Part 0. Sample command: LOAD:GALACTIC TRIUMPH (return).
NEW
The NEW command is used to start fresh. Once entered, the NEW command asks for
the NUMBER OF PARTS? which should generally be entered as 1. If return is
pressed, 1 is assumed. The number of parts cannot exceed 9. Remember that
parts created cannot be destroyed and that song playback ends when the end of
the highest numbered part is reached. New parts (created either with NEW or
with EDIT, a Type 2 Command) contain KEY:C, TIME:4/4, QUARTER:240, GAP:65535,
TRANSPOSE:?, ATTACK:8192, DECAY:50, VOLUME:55000, SUSTAIN:?, and RELEASE:50. (All
subroutines and parts always end with an end marker.) Stereo is set to the
standard values: STERE0:2,LRLRLR and STERE0:3,MLRMLRMLR. The NEW command then
3-33 ENTRY Apple Music Synthesizer
asks for the SUGGESTED SPEED? which can be given as any integer from to 255,
or just press return for 255. Finally, the NEW command asks for the 4 TITLE
LINEs. These are initially set to all spaces. The cursor is set to the first
item in Part 0. Sample command: NEW (return).
SPEED:<l-65535>[/<l-65535>]
The SPEED command is used to change the duration of all notes, rests, and
QUARTER functions in all parts and subroutines. The colon after SPEED is
followed by an integer from 1 to 65535 to multiply all time durations by. This
is optionally followed by a slash (/) and another integer from 1 to 65535
indicating a number to divide by. (If not specified, this is assumed to be 1.)
All time durations are multiplied by the first integer, then divided by the second
integer. Any "remainder" (or non-integral portion) is ignored, and the result MOD
65536 is used. For example, a note length of 240 divided by 50 (using
SPEED:l/50) would become 4 since 240/50 equals 4.8. The .8 time periods dropped
will eventually accumulate (differently in different parts) and create unusual
timing. Therefore, such non-integral results should usually be avoided. Any
results are changed to 1. CAUTION: extreme care must be taken to avoid
destruction of the song! Saving the song prior to attempting a SPEED command is
strongly recommended. Sample command: SAVE:GALACTIC TRIUMPH (return) SPEED:l/2
(return).
STERE0:<2-3>,<stri ng>
The STEREO command is used to change the stereo selection programmed in the
song. Although stereo outputs are available only when using two or three
synthesizers, you may wish to set the stereo selection even when using only one
unit if the song may be played by others having more units. STERE0:2,<string>
sets the stereo which will be used when the song is played back on a system
with 2 synthesizers. It applies only to songs having 6 or fewer parts. The
<string> must consist of L's (for Left) and R's (for Right). There should be one
letter for each part. The first letter specifies the position for Part 0, the
second for Part 1, etc. There cannot be more than 3 L's or more than 3 R's.
Note that songs should usually not have more than 2 R's. If a song has 3 R's, it
cannot be played on a system with Timing Mode unless 3 synthesizers are used.
STERE0:3,<string> sets the stereo which will be used when the song is played
back on a system with 3 synthesizers. It is used the same as the
STERE0:2,<string> command except that in addition to L's and R's, M's can be used
(for Middle). There cannot be more than 3 M's, and no more than 2 M's can be
used if Timing Mode is to be used during playback. When creating a song for
general use, STERE0:3,<string> should always be specified. STERE0:2,<string>
should also be specified on all songs having 6 or fewer parts. NOTE: the EDIT
command changes both the STERE0:2,<string> and STERE0:3,<string> settings if the
number of parts is increased. The stereo settings selected are programmed into
Apple Music Synthesizer ENTRY 3-34
the CHANNEL function (see the PERFORM section) and thus will be saved with the
song. Sample command: STERE0:2,LLR (return).
SUBROUTINE:<0-99>
The SUBROUTINE command is used to create a subroutine, or to view (and thus
ready for editing) an existing subroutine. (Note: this command may be considered
a Type 1 Command if used to access an existing subroutine rather than create a
new one.) The creation of a new subroutine will reduce the number of free notes
by the following amounts depending on the number of parts: 2 for 1 part, 3 for
2, 4 for 3 or 4, 5 for 5, 6 for 6 or 7, 7 for 8, and 8 notes for 9 parts. (NOTE:
increasing the number of parts with EDIT, a Type 2 Command, reduces the number
of free notes by enough to account for the difference in storage requirements
for each subroutine (since more "notes" of storage are required per subroutine
when more parts are present, as shown above), plus 12 and 2/3rds notes per new
part.) The cursor is positioned to the first item in the selected subroutine, or
the end marker in that subroutine if there are no items. CAUTION: subroutines
are assigned numbers from up (by ones) when a song is loaded and when RESET
is pressed (C00G must be typed on systems without an Auto-Start ROM). The
numerical order of the subroutines does not change. Sample command:
SUBROUTINES (return).
TYPE 3 COMMANDS
These commands are not done immediately, but rather are stored in the song data
at the current cursor position. The item currently at the cursor position is
erased unless insert mode is on. These commands do not affect playback. They
affect only newly entered notes and rests, or the screen display. Commands of
this type included within a subroutine affect only the display and entry of notes
within the subroutine itself, and not within any part (or other subroutine)
calling the subroutine. The number of notes free goes down by 1 for each
inserted command, but stays the same for replaced commands.
KEY:<1-6XS-F> or KEY:C
The KEY command is used to change the key signature. (If no KEY command has
occured in the part or subroutine so far, the key is assumed to be KEY:C.) KEY:C
specifies no sharps or flats, and an integer from 1 to 6 followed by an S or an
F specifies the indicated number of sharps (S) or flats (F). All notes entered so
as to appear in the song data after this KEY command (but before the next KEY
command) will be affected by this KEY command. Any note not entered as "sharp",
"flat", or "natural" will be changed to sharp if it is one of the notes indicated
as sharp in the key signature, or changed to flat if it is one of the notes
indicated as flat in the key signature. Notes not indicated as either sharp or
flat by the key signature are left as is. Sample command: KEY:3S (return).
3-35 ENTRY A PP le Music Synthesizer
QUARTER:<l-65535>
The QUARTER command is used to change the duration of notes entered except
when using non-standard durations with LENGTH (a Type 1 Command). All notes
entered so as to appear in the song data after this QUARTER command but before
the next QUARTER command will be affected. (If no QUARTER command has occured
in the part or subroutine so far, it is assumed to be QUARTER:240.) See the
PADDLE and PADDLE 1 Type 4 Commands for additional details. Sample command:
QUARTER:480 (return).
TIHE:<l-19>/<note>
The TIME command is used to change the time signature. (If no TIME command has
occured in the part or subroutine so far, the meter is assumed to be 4/4.) The
colon after TIME is followed by the number of notes (of a certain duration) to
occur per measure. This is followed by a slash (/) which does not mean division
(this is a special case). The slash is followed by an integer which specifies the
note duration referenced by the other integer. It must be 1 for a whole note, 2
for a half, 4 for a quarter, 8 for an eighth, or 16 for a sixteenth note. The
number of time periods allowed per measure will be the current QUARTER setting
times 4 times the number before the slash, all divided by the number after the
slash. This command determines the positioning of measure bars, which in turn
affects whether a note is sharp (or flat) or not (see the PADDLE 1 Type 4
Command). It affects all notes entered so as to appear in the song data after
this TIME command but before the next TIME command. Sample command: TIME:2/2
(return).
r
TYPE 4 COMMANDS
These commands are not done immediately, but rather are stored in the song data
at the current cursor position. The item currently at the cursor position is
erased unless insert mode is on. These commands are executed during playback.
They are executed during a subroutine call and thus may effect notes entered in
a given part (or subroutine) after a call to the subroutine containing these
commands. The number of notes remaining goes down by 1 for each inserted
command, and stays the same for replaced commands, except as noted for TIE.
<value> always refers to an integer from to 65535, optionally followed by a
slash (/) and another integer from to 65535. When the slash is specified, the
indicated division is done and the resultant value (ignoring any remainder or
non-integral portion) is used as the parameter.
REST
The REST symbol is requested by pressing Paddle 0's button while the upward-
pointing arrow is pointing at REST. When requested, a rest is written in the
Apple Music Synthesizer ENTRY 3-36
song data. The duration of the rest is determined in the same fashion as the
PADDLE 1 Type 4 Command (below).
PADDLE 1
Note entry is accomplished by pressing Paddle l's button. The vertical position
of the note cursor (controlled by Paddle l's knob) determines the pitch of the
note, subject to various sharps and flats, and (during playback only) the current
TRANSPOSE (Type 4 Command) setting. Notes will be natural, sharp, or flat; as
indicated by a block under one of these in the menu, and the blocks cleared, if
one of these blocks is lit. Otherwise, notes are entered as natural unless they
must be sharp or flat due to the current key signature or due to a prior note in
the measure of the same pitch being sharp or flat. (Note: all octaves are
affected by the key signature, but not by prior sharp or flat notes in the
measure.) Natural, sharp, or flat signs are displayed on the screen only when
necessary. Duration is as specified by LENGTH (a Type 1 Command) unless one or
more blocks are lit under the seven notes in the menu. (Note: "." and "3" do
affect LENGTH settings.) If a block is lit, the length will be assumed to be as
specified by the most recent QUARTER command for quarter notes, and
proportional values for all other notes. A block under "." multiplies the length
by 3/2, and a block under "3" multiplies the length by 2/3. (A block under both
multiplies the length by 2/3 and then by 3/2.) Entry of a sixty-fourth note
(selected by a block under the sixty-fourth note) is not allowed if the "." block
is lit. (Dotted sixty- fourth notes are never displayed.)
TIE
The TIE symbol is requested by pressing Paddle 0's button while the upward-
pointing arrow is pointing at TIE. When requested, the duration which would be
used if a note were entered (see the PADDLE 1 Type 4 Command) is added to the
duration of the note or rest the cursor is currently at. (If the cursor is not at
a note or rest, the Apple speaker beeps and the cursor moves left one item.)
This command is unaffected by insert mode, and it never changes the number of
notes free.
ATTACK:<value>
The ATTACK command changes the current attack setting. The value specified is
the maximum amount the "current loudness" can increase in any given "time
period". Sample command: ATTACK:55000/30 (return).
CALL:<0-99>
The CALL command is used to have the Type 4 Commands in the specified
subroutine be executed during playback. The integer (from to 99) specifies
which subroutine should be done. More than one part may call the same
subroutine (or different subroutines) at the same time. A subroutine may call
itself provided at least one time period of duration occurs within the subroutine
3-37 ENTRY Apple Music Synthesizer
prior to the call to itself. A CALL cannot be entered until after its subroutine
has been created. See SUBROUTINE (a Type 2 Command) for additional information.
Sample command: CALL:83 (return).
DECAY:<value>
The DECAY command changes the current "decay setting". The value specified is
the maximum amount the "current loudness" can decrease in any given "time
period" unless the RELEASE rate is currently being used. Sample command:
DECAY:100 (return).
GAP:<value>
The GAP command changes the current gap setting. When the time remaining for
any note equals the current gap setting, the release stage of the envelope
begins. Sample command: GAP:60 (return).
POKE:<0-255>,<0-255>,<0-255>
The POKE command is used to enter non-standard commands. CAUTION: use of this
command renders this documentation meaningless and may well scramble memory
during playback. Integers from to 191 followed by and (for example,
POKE:73,0,0) enter notes of zero duration, the correct duration can be TIEd in.
For information on other values, see the PERFORM section, and the SONG DATA
FORMAT heading in this section. Sample command: POKE:0,240,0 (return).
RELEASE:<value>
The RELEASE command changes the current release setting. The value specified is
the maximum amount the "current loudness" can decrease in any given "time
period" unless the DECAY rate is currently being used. Sample command:
RELEASE:100 (return).
SUSTAIN:<value>
The SUSTAIN command changes the current "sustain setting". The value specified
is the "desired loudness" which the "current loudness" follows, unless the
desired loudness is currently for a release stage or the current volume
setting for an attack stage. Sample command: SUSTAIN:45000 (return).
TEMPO:<value>
The TEMPO command is used to change the playback tempo. It need appear in only
one part since it affects the playback speed (tempo) of all parts. Although it
should be included in any song for general use, it is active only when using
Timing Mode (see the TIMING MODE section). The TEMPO setting should be about
19.25*(<paddle setting>+l). There will be 1782000/TEMPO time periods per second,
unless the selected time period is too short for all necessary computations to
occur. Sample command: TEMP0:4735 (return).
Apple Music Synthesizer ENTRY 3-38
TRANSPOSE:<0-255>
The TRANSPOSE command is used to change the current transpose setting. Values
from to 127 raise all following pitches (until the next TRANSPOSE command) by
to 127 quarter steps; values form 255 to 128 lower all following pitches by 1
to 128 quarter steps. 24 quarter steps equals 1 octave. Sample command:
TRANSP0SE:232 (return).
VOLUME:<value>
The VOLUME command changes the current volume setting. The value specified is
the "desired loudness" which the "current loudness" follows unless the envelope
is not currently in an attack stage. Sample command: VOLUME:50000 (return).
3-39 ENTRY Apple Music Synthesizer
TIPS
PARTIAL STARTING MEASURE
Often songs begin with a measure which is short, perhaps containing only a
single note. If such a song were entered in the normal fashion, the measure
bars would not appear at the correct places. There are many ways of solving
this problem. The simplest and perhaps best way is to start by entering a rest
which is long enough to fill one measure when the partial (starting) measure is
entered after the rest. Not only does this put the measure bars in the right
places, it also causes a brief delay before song playback begins during a PLAY
command, which may be considered desirable. Another method is to put the
partial measure in a subroutine, and call it. (The duration of notes within a
subroutine is not added to a part which contains a CALL to that subroutine.) Yet
another method is to enter the partial measure, and then enter a TIME or a
QUARTER command to start the measure over.
RESTS AT THE END OF PARTS
Each part should end with a rest. It can be as short as you like, and it serves
to begin the release stage of the envelope. Otherwise a release stage may begin
unexpectedly (when the constantly cycling time remaining equals the current GAP
size). Additionally, the highest numbered part should end with a rest long enough
to let all parts decay (or release, actually) down to zero volume, and perhaps
even show a "blank" screen for a second. PERFORM users may find this
particularly necessary, lest the parts continue playing after PERFORM returns to
the calling program.
PADDLE SETTINGS
Paddle settings which are too small will create "time periods" which are not long
enough for all necessary calculations. When this happens, the "time period" is
lengthened so that all calculations are completed. Since the calculation time
required varies, the song playback speed will vary too. There is no time period
variation when the paddle setting is high enough. Generally, paddle settings
lower than 150 are never used. Songs having many parts active and using several
levels of subroutines may require even higher settings. The number of time
periods in one second is approximately 93000/(<paddle setting>+l).
"BACK-UP"
While entering particularly long songs, it is a good idea to save the song
periodically in case the power fails, ENTRY hits an undiscovered bug, or you
accidently delete half the melody.
Apple Music Synthesizer ENTRY 3-40
TRANSPOSE
Each part must contain a TRANPOSE before the first note, even if it is a
TRANSPOSE:?.
COPYING SONGS WITHOUT ENTRY
Systems equipped with Integer BASIC can copy songs from one tape or disk to
another without running ENTRY. Just load the song as if it really were an
Integer BASIC program, and save it. Since it isn't a BASIC program, attempting to
change or delete a line, or attempting to RUN it, would probably scramble the
song data; however, a load followed immediately by a save will work properly.
RESET
On systems without an Auto-Start ROM, C00G (return) must be typed if RESET is
pressed. That's C zero zero G, not COOG. RESET can safely be used during a PLAY
command. RESET must not be used during the execution of any other command, or
the song data may be destroyed.
INTEGER/APPLESOFT SWITCH
On systems with a ROM card (for Applesoft or Integer BASIC), the switch must be
set for a start-up language which matches the version of ENTRY being used.
3-41 ENTRY Apple Music Synthesizer
SONG DATA FORMAT
Song data is stored as described in the PERFORM section with the following
changes:
1. Song data always begins in memory at 5000 hex.
2. The END command (FF 00 00) is followed by a byte giving the suggested speed,
then 160 bytes which form the four title lines.
3. The QUARTER command is stored with command type FB hex.
4. The KEY command is stored with command type FC hex. A parameter of zero
indicates C. Otherwise, the number of sharps/flats is stored with the most
significant bit being for flat or 1 for sharp. The third byte is not used.
5. The TIME command is stored with command type FD hex. The second byte
indicates the number of notes per measure, and the third byte the type of
note.
6. All TRANSPOSE commands have a third byte of FE. This allows the least
significant bit of each note to indicate sharp or flat.
7. When loaded using Integer BASIC, locations CA and CB hex ("PP") indicate the
starting address of the data. Locations 4C and 4D hex ("HIMEM") indicate the
address past the last byte of data.
SELECTED HEX ADDRESSES
4C & 4D: defines the address of the first byte of unavailable memory
72: defines the lowest slot number times 16
87: defines the number of synthesizer units
5E & 5F: defines the address of the first byte following the song's
title lines (end of song pointer)
5000: start of song data
A76: start of pitch divisor table
4F38: start of Entry-generated subroutine address table
4D52-4D75: part initialization data
4ECD-4F36: command table expansion area
4DAA-4DB2: standard stereo positions
Base page usage: (see also PERFORM base page usage)
0-19 26-27 36-39 3C-3F 4A-4D 50-55 58-8F CA-CD
Apple Music Synthesizer ENTRY 3-40
TRANSPOSE
Each part must contain a TRANPOSE before the first note, even if it is a
TRANSPOSED.
COPYING SONGS WITHOUT ENTRY
Systems equipped with Integer BASIC can copy songs from one tape or disk to
another without running ENTRY. Just load the song as if it really were an
Integer BASIC program, and save it. Since it isn't a BASIC program, attempting to
change or delete a line, or attempting to RUN it, would probably scramble the
song data; however, a load followed immediately by a save will work properly.
RESET
On systems without an Auto-Start ROM, C00G (return) must be typed if RESET is
pressed. That's C zero zero G, not COOG. RESET can safely be used during a PLAY
command. RESET must not be used during the execution of any other command, or
the song data may be destroyed.
INTEGER/APPLESOFT SWITCH
On systems with a ROM card (for Applesoft or Integer BASIC), the switch must be
set for a start-up language which matches the version of ENTRY being used.
3-41 ENTRY Apple Music Synthesizer
SONG DATA FORMAT
Song data is stored as described in the PERFORM section with the following
changes:
1. Song data always begins in memory at 5000 hex.
2. The END command (FF 00 00) is followed by a byte giving the suggested speed,
then 160 bytes which form the four title lines.
3. The QUARTER command is stored with command type FB hex.
4. The KEY command is stored with command type FC hex. A parameter of zero
indicates C. Otherwise, the number of sharps/flats is stored with the most
significant bit being for flat or 1 for sharp. The third byte is not used.
5. The TIME command is stored with command type FD hex. The second byte
indicates the number of notes per measure, and the third byte the type of
note.
6. All TRANSPOSE commands have a third byte of FE. This allows the least
significant bit of each note to indicate sharp or flat.
7. When loaded using Integer BASIC, locations CA and CB hex ("PP") indicate the
starting address of the data. Locations 4C and 4D hex ("HIMEM") indicate the
address past the last byte of data.
SELECTED HEX ADDRESSES
4C & 4D: defines the address of the first byte of unavailable memory
72: defines the lowest slot number times 16
87: defines the number of synthesizer units
5E & 5F: defines the address of the first byte following the song's
title lines (end of song pointer)
5000: start of song data
A76: start of pitch divisor table
4F38: start of Entry-generated subroutine address table
4D52-4D75: part initialization data
4ECD-4F36: command table expansion area
4DAA-4DB2: standard stereo positions
Base page usage: (see also PERFORM base page usage)
0-19 26-27 36-39 3C-3F 4A-4D 50-55 58-8F CA-CD
4
PLAY
4-1 PLAY Apple Music Synthesizer
The PLAY program is used to play songs entered with ENTRY. Songs can be read
from cassette tape or from disk. Although songs cannot be edited with PLAY, it
has several advantages over ENTRY. PLAY's main advantage is that it requires
less memory than ENTRY. This means that PLAY can be loaded (from tape or disk)
faster than ENTRY, and it allows playback of songs which are too large to load
with ENTRY. Another important feature of PLAY is that most disk commands can be
used (ENTRY allows only LOAD and SAVE). This allows "Exec Files" to be used,
either as created by the DISCO program or custom files.
To run PLAY, you must have 5K bytes of memory plus enough additional memory to
hold the song. If you are using a DISK II, you need 15.5K plus the song length.
(Using the Applesoft verion, these figures are 8K and 18. 5K.) The maximum song
length is 28K. (17. 5K for songs entered using a DISK II system with MAXFILES 3.)
First, load the program from disk or cassette tape. List line 10. It will be
10 SL0T=4 : UNITS = 1. Find the proper SLOT and UNITS values for your system
using the table in the INSTALLATION section. Carefully retype the line changing
only the digits 4 and 1 to the proper digits for your system. (If you have a
Timing Mode Input Board, list line 20. It will be 20 TSL0T=8. Carefully retype
the line changing only the digit 8 to the slot number of your Input Board). Now
save the program on your disk. If you do not have a DISK II, save the program
using your own recorder to improve loadability. The program is now configured
for your system, and can be run any time you like without having to change line
10 (or 20). If you ever change the slot position of your synthesizer(s) (or Input
Board), or purchase an additional synthesizer or an Input Board, you should do
this configuration procedure again.
When run, PLAY will print a period (.) as a prompt character. The following
commands can then be used:
LOADD<song name>[<disk specifications>TJ
This command is the same as the load command in ENTRY (see the ENTRY section,
SUMMARY OF COMMANDS).
PLAY[:<song name>[<disk specifications>U
This command is a mixture of the play command in ENTRY (see the ENTRY section,
SUMMARY OF COMMANDS) and the load command (above). Typing PLAY (return) is used
to play the song currently in memory (you must have already loaded a song, of
course). PLAY:<song name>[<disk specifications^ is used to load a song and then
play it.
STOP
This command is used only in ALBUM files created by DISCO (see the DISCO
Apple Music Synthesizer PLAY 4-2
section). It goes to BASIC, leaving the PLAY program in memory for continuation
with RUN. Either RUN or INT (FP when using Applesoft) should always be used
after a STOP command.
INT or FP
INT (or FP for Applesoft) is used to stop using PLAY. The PLAY program is
erased and must be reloaded if you desire to run it again.
Most disk commands, such as CATALOG and EXEC, can be used while running PLAY.
ENTRY'S PLAY:F is not available in PLAY since the F would be assumed to be a
song name.
If you wish to stop playback, press RESET. On systems not equipped with an
Auto-Start ROM, type 3D0G (control C return on cassette systems) to return to
BASIC. Once in BASIC, type RUN to clear the synthesizer and continue using PLAY.
5
DISCO
5-1 DISCO Apple Music Synthesizer
The DISCO program is used to create an "Exec File" which can be used to play
songs in succession. It can also randomize the playback order. It can be used
only on systems equipped with a DISK II. A text file named ALBUM is created, so
a disk which is not write-protected is required. The procedure is as follows:
Load DISCO from cassette tape or disk, and save it on your disk. (If you have
already done this, just LOAD the program from your disk.) Type RUN 1000 and
press return. DISCO will print a brief set of instructions.
It is best if you have a printed catalog listing for this next step. If you don't
have one, just type CATALOG occasionally to see the catalog listing. Type in the
song names to be played, pressing return after each song name. Do not type the
"M:" (for example, if you used SAVE:GALACTIC TRIUMPH from ENTRY, then you should
type GALACTIC TRIUMPH (return) for DISCO, rather than M:GALACTIC TRIUMPH which
is how the song will appear in the catalog). If you wish to have the songs
played in a particular order, you must type them into DISCO in that order.
When all songs have been entered, type STOP and press return. CAUTION: care
must be taken to not hold down the keyboard keys while typing STOP. The lack of
n-key rollover on the Apple keyboard will cause unseen control letters to be
entered if several keys are held down at once. This would cause a song title to
be entered which consists of STOP and these control letters, rather than a STOP
command.
If you wish to always use the same playback order, type LOCK ALBUM and press
return. It will be necessary to type UNLOCK ALBUM if you ever wish to delete the
ALBUM file or make any changes to it.
To play the whole sequence (or "album") of songs, you type EXEC ALBUM and press
return. If you wish to have the order randomized, type RUN DISCO (or, if DISCO
is already loaded, type RUN). To do either of these, a properly configured PLAY
program must be on the disk and named PLAY. When album playback is complete,
you can type RUM to run PLAY or EXEC ALBUM to hear the songs again. Otherwise,
type INT or FP to stop using PLAY.
TO ADD SONGS
Load the DISCO program, and type RUN 2000 (return). After the instructions are
printed, proceed in the same fashion as when originally creating the album (done
with RUN 1000, above).
TO START OVER
If you wish to scratch the old ALBUM file and make a new one, type DELETE ALBUM
(return). Then LOAD DISCO and RUN 1000 as described above. If you do not DELETE
Apple Music Synthesizer DISCO 5-2
ALBUM, and if the new ALBUM file is shorter than the old one, commands remaining
at the end of the file will result in errors after album playback is completed.
USING "START" and "END"
When randomizing the song order using RUN DISCO, you can have one particular
song played as the first song, and/or another played as the last. These songs
must be named START (for the first song) or END (for the last song). When a
song named END is entered (during RUN 1000 or RUN 2000), DISCO stops (there is
no need to use a STOP command). END will remain the last song even if more
songs are added (using RUN 2000) or the order is randomized (using RUN). The
song must appear in the catalog as M:END. The START song should generally be
entered as the first song, when the album is first made using RUN 1000.
Otherwise it will not be the first song until it is randomly placed as the first
(but will remain first from then on). It must appear in the catalog as M:START.
USING MORE THAN ONE DISK DRIVE
Songs in an album can occupy more than one disk drive. The ALBUM file and the
PLAY program must be on the same disk (as must be the START song, if used).
(The END song, if used, must be on all disks.) Songs must be entered (when using
RUN 1000 or RUN 2000) followed by the proper disk specification. For example,
when using two drives on the same controller, all songs on drive 1 must be
followed by ",D1" and all songs on drive 2 must be followed by ",D2" (note:
START and END must not be followed by a disk specification). If you are not
using the randomization feature, the disk specifications need only be given when
there is a change (for example, when the previous song was on drive 1 but this
song is on drive 2, it must be followed by ",D2"). Be sure to leave enough room
on the disk containing the ALBUM file for possible expansion of the file. NOTE:
song titles are limited to 28 letters, including the disk specifications.
6
PROGRAMMING
WITH PERFORM
6-1 PERFORM Apple Music Synthesizer
The PERFORM program is used to play songs from your own programs. It can play
songs entered with ENTRY, or songs created by other means (see the SONG DATA
description in this section).
PERFORM is rather difficult to use on systems which do not have a DISK II. In
this case, PERFORM must be loaded from tape and RUN. PERFORM will then be
located at 802 hex (21350 decimal) in memory. LOMEM is automatically changed so
PERFORM will not be erased by other programs you may load (note: be sure to
avoid using control B or programs which change LOMEM). To use PERFORM, you must
have a song in memory. At 800 hex (2048 decimal) you must put the starting
address of the song MOD 256. (In Applesoft, this is address-INT(address/256)*256
since MOD is not available.) At 801 hex (2049 decimal) you must put the starting
address of the song divided by 256. (In Applesoft, this is INT(address/256).)
Then, a CALL to 802 hex (2050 decimal) causes the song to be played. The
remainder of this section assumes you have a DISK II, but only the loading
methods are different when using a cassette system (and the proper loading
method has just been described). All explanations regarding the song data format
are the same for any system. (Note: when using Applesoft, the word LOMEM in
this paragraph refers to the start-of-program pointer.)
When using a system with a DISK II, you should change the PERFORM program into
a binary file. Since you will probably want to still use the name PERFORM, you
will have to delete the original PERFORM program since two programs cannot have
the same name. To be on the safe side, you should begin by saving the original
PERFORM program on some disk for possible future use. (Be sure you just LOAD
PERFORM and then SAVE PERFORM on another disk. Do not RUN it or it will not be
properly saved.) To begin, type INT (FP on Applesoft systems). Now load the
PERFORM program (from cassette tape or disk). If you loaded it from disk, and
wish to have the binary version of PERFORM on the same disk, you must
DELETE PERFORM. Now RUN the program. Then type BSAVE PERFORM,A2050,L676 and
press return. A binary file version of PERFORM will be saved on the disk. To
finish, type INT (FP on Applesoft systems).
To copy the binary version of PERFORM to another disk, type BLOAD PERFORM,A2050
to load it, and then BSAVE PERFORM,A2050,L676 to save it on the desired disk.
If you wish to play an ENTRY-created song from your own BASIC program, it will
first be necessary to convert the song into a binary file so your program can
load it. In order to play a song, its data must be initialized to have the
correct SLOT and UNITS settings for your system. The easiest way to do this is
to run a properly configured ENTRY program (see the ENTRY section), load the
song and play it, then save the song back on disk. ENTRY'S PLAY command will
configure the song. (Note: you must remember to SAVE the configured song back
Apple Music Synthesizer PERFORM 6-2
on disk, or the disk copy of the song will not be configured.) Once you have
done this, you are ready to convert the song into a binary file. (Note that it
will be necessary to reconfigure the song if you change the slot location(s) of
your synthesizers or add another synthesizer.) The following Integer BASIC
program converts songs into binary files. Type it in and save it. Note that "d"
means to type control D.
10 POKE 76,0 : POKE 77,124 : DIM A$(40) : INPUT "SONG NAME?",A$
20 PRINT "dL0ADM:";A$ : A=PEEK(202)+PEEK(203)*256
30 PRINT "dBSAVE";A$;",A";A;",L";31744-A : PRINT "LENGTH: ";31744-A
40 PRINT "dINT"
Note: this program requires 48K. On 32K systems, change the 124 to an 80 and
the two 31744's to 20480's. Songs entered on a 48K system with MAXFILES less
than 3 (or on a cassette based system) may be too large to convert on a 32K
system.
If you do not have Integer BASIC, use the following Applesoft version instead.
Type it in and save it. Note that "d" means to type control D.
10 POKE 76,PEEK(115) : POKE 77,PEEK(116) : POKE 217,0
20 HIMEM:3000 : INPUT "SONG NAME?";A$
30 POKE PEEK(54)+PEEK(55)*256+3065,0
40 PRINT "dL0ADM:";A$ : A=PEEK(202)+PEEK(203)*256
50 L=PEEK(76)+PEEK(77)*256-A : PRINT "dBSAVE";A$;",A";A;",L";L
60 PRINT "LENGTH: ";L : PRINT "dFP"
To use either program, begin by typing INT (FP for the Applesoft version). Then
RUN the program. It will ask for a song name. Type in the name of the song to
be converted (without the M:) and press return. The song will be converted and
saved on your disk as a binary file with the same name as the song but without
the M:. The conversion program also prints the length of the song in bytes.
Although this length can be determined simply by BLOADing the song and looking
at the DOS 3.2 file length locations (see your DOS manual), you may wish to write
the length down since you will probably need to know it. To convert another
song, follow the instructions above again. You can omit the initial INT (or FP),
but you must load the program again to run it (or use RUN name) since the
program self-destructs each time it is used.
AN EXAMPLE
Let's say you want to try this procedure with the sample song MUSETTE. First,
store a binary version of PERFORM as described above, and save the conversion
program given above. Let's assume you named the conversion program CONVERT.
5-3 PERFORM Apple Music Synthesizer
Now, RUN ENTRY. (This assumes you have already configured ENTRY for your
system configuration as described in the ENTRY section.) LOAD:MUSETTE, PLAY, and
SAVE:MUSETTE. Now type INT to exit ENTRY. You are now ready to convert the
song. Type INT (or FP). Type RUN CONVERT. It will ask for a song name. Type
MUSETTE and press return. The song will be converted and saved on your disk as
MUSETTE, and the length will be printed. (If you had another song to convert
now, you would start with RUN CONVERT.) Now, the song can be played with
PERFORM. To do this, begin with BLOAD PERFORM. Mow type BLOAD MUSETTE.A2960
and then POKE 2048,144 and POKE 2049,11. Type CALL 2050 to play the song. Note
that paddle controls the playback speed. When playback is finished, you could
play the song again just by typing CALL 2050.
What are the mystic pokes for? Locations 2048 and 2049 must be set to the
starting memory address of the song data. We loaded the song at 2960. Note that
11*256+144 (11 and 144 being the numbers we poked) is 2960, the starting
address. 2960 just happens to be the first byte of memory available after
PERFORM, which uses locations 2048 through 2959.
With a few precautions, you could have had a BASIC program do the BLOADs, POKEs,
and CALL. The only other detail is that in this example we used ENTRY to
initialize the synthesizers (when MUSETTE was configured), and for general
purpose BASIC programs you would probably want to have your program initialize
the synthesizers. If you were writing a program to be used on other people's
computers, you would probably want to have your program configure the song
data, too.
A FEW PRECAUTIONS
When using PERFORM from a BASIC program, you will have to find a place to put
the song data. You will also have to keep BASIC from erasing PERFORM.
WITH INTEGER BASIC
When using Integer BASIC, the easiest place to put the song data is right after
PERFORM. (Starting at 2960 decimal.) LOMEM can be moved up to keep BASIC from
erasing either PERFORM or the song data. First, figure out where the song data
will end. You will need to know the length of the longest song you plan to
BLOAD, or the sum of the lengths of the longest songs you plan to have in
memory at the same time. Take this length and add the starting address (2960).
This is what LOMEM must be. You can either set LOMEM using a LOMEM command, or
you can have your program set LOMEM. It is probably best to have your program
do it so you won't forget, and so others can use it. The LOMEM command also
changes a value Apple calls CM, so your program must change it too. To do all
this, find out what LOMEM MOD 256 and LOMEM/256 are (for the new LOMEM, of
Apple Music Synthesizer PERFORM 6-4
course). For example, if your longest song is less than 2048 bytes, LOMEM could
be 2960+2048 which is 5008. 5008 MOD 256 is 144 and 5008/256 is 19. To have
your program change LOMEM and CM to these values, make the first statements
POKE 74,144 : POKE 204,144 : POKE 75,19 : POKE 205,19. These four pokes must be
the first statements in your program, or at least be before any variables are
used. After these, you can BLOAD PERFORM by using PRINT "dBLOAD PERFORM" where
the "d" is a control D. You can load a song using PRINT "dBLOAD song name,A2960"
where "song name" is the name of the song to be loaded. If you wish to load a
second song, change the 2960 after the A to a value which is 2960 plus the
length of the first song or greater. Similarly, a third song can be loaded with
an A value of 2960 plus the combined lengths of all previously loaded songs (or
greater). Loading several songs lets you do a lot of disk reading at the
beginning of the program (or any time before playback is needed) and then play
any of the loaded songs at any time without delay. On the other hand, you may
wish to just load a song, play it, then load another song and play it. This
requires less memory, and it splits up the disk reading time. (When reading one
song at a time, you only need enough memory to hold the longest song, and you
BLOAD each song at the same address.) To play any song, you will need its
starting address. This is the number after the A in the BLOAD command. The
address MOD 256 must be poked at 2048, and the address/256 must be poked at
2049. Then a CALL 2050 is used to play the song. If you load another song at
the same address, you don't need to poke the starting address again. However, if
you've loaded several songs, you will need to poke the starting address of the
desired song before using CALL 2050 to play it.
You can, of course, locate your song data any place it won't be erased. You must
still move LOMEM up to at least 2960 to keep Integer BASIC from erasing PERFORM.
WITH APPLESOFT BASIC
Applesoft's memory organization is very crude, and thus more awkward
preparations (than with Integer BASIC) are required. To begin with, your program
should start with" several REM statements. They should be line numbers 1 through
4. Line 1 should be typed in as 1REMXXXX... with no spaces and with enough X's
to completely fill 6 lines on the Apple's 40 column display. (There will be 235
X's. Don't type the ... of course.) Lines 2 through 4 must start as 2REMXXXX...
3REMXXXX... etc. These REM statements provide enough room for the PERFORM
program. The next lines in your program should change Applesoft's start-of-
program pointer to eliminate the REM's (while keeping enough room available for
PERFORM). This is done with the statements POKE 103,197 : POKE 104,11. This is
all you need to keep Applesoft from erasing PERFORM. Now an ared, of memory for
the song(s) to be played is needed. The easiest area to use is the memory below
the DOS system (below HIMFM). You will need to know the length of the longest
song you plan to BLOAD, or the sum of the lengths of the longest songs you plan
6-5 PERFORM Apple Music Synthesizer
to have in memory at the same time. Let's call this number "length". Before your
program uses any variables, you should have this statement to reserve an area
of memory (of length "length") for the song(s): IF PEEK(2050)<>138 THEN
IIIMEM:PEEK(115)+PEEK(116)*256-length. After this, you can use PRINT "dBLOAD
PERFORM" to read in the PERFORM program (remember that "d" means to type control
D). Now you should set a variable which indicates the address of this memory
area. This is done with the statement A=PEEK(115)+PEEK(116)*256. You can load a
song using PRINT "dBLOAD song name,A";A where "song name" is the name of the
song to be loaded. If you wish to load a second song, use PRINT "dBLOAD song
name,A";A+L where "song name" is the name of the second song, and L is the
length of the first song. Similarly, a third song can be loaded using a value
for L which is the combined lengths of all previously loaded songs. Loading
several songs lets you do a lot of disk reading at the beginning of the program
(or any time before playback is needed) and then play any of the loaded songs at
any time without delay. On the other hand, you may wish to just load a song,
play it, then load another song and play it. This requires less memory, and it
splits up the disk reading time. (When reading one song at a time, you only need
enough memory to hold the longest song, and you BLOAD each song at the same
address.) To play any song, you will need to poke its starting address at 2048
and 2049. The starting address is the value A (or A+L) in the BLOAD command.
Use POKE 2048,A-INT(A/256)*256 : POKE 2049,A/256. Then a CALL 2050 is used to
play the song. If you load another song at the same address, you don't need to
poke the starting address again. However, if you've loaded several songs, you
will need to poke the starting address of the desired song before using CALL
2050 to play it.
You can, of course, locate your song data any place it won't be erased. You must
still use the REM statements and the POKE 103,197 : POKE 104,11 to keep Applesoft
from erasing PERFORM.
CAUTION: when you run your Applesoft program, the REM statements will
disappear. This will present no problems unless you save the program while the
REM statements are gone. If you do, then sometime later (when PERFORM is no
longer in memory) you may run the program and the first few lines would
disappear, possibly causing bizzare listings (due to partial lines) and really odd
RUNs after the first one. To repair this problem, just load the missing REM
version from the disk and type in the REMs. To avoid having this problem occur,
begin any session of correction by loading the program, running it to make the
REMs disappear, then loading it again to bring the REMs back; this time the REMs
will not disappear when you run the program since the start-of-program pointer
has already been changed.
Apple Music Synthesizer PERFORM 6-6
SYNTHESIZER INITIALIZATION
If you have a line which sets SLOT and UNITS, like the one in ENTRY or PLAY, you
can use these variables in a synthesizer initialization routine. Generally, any
program which uses the synthesizer should have this initialization routine near
the beginning. It is the same for either Integer BASIC or Applesoft.
FOR S=SL0T TO SLOT+UNITS-1
PN=16*S-16256 : POKE PN,0 : POKE PN+1,0 : POKE PN+2,0
POKE PN+3,3 : POKE PN+7,54 : POKE PN+7,118 : POKE PN+7,182
NEXT S
SONG CONFIGURATION
Unless you can configure each song for your particular system (using ENTRY, as
previously described) and can count on your program being used only on your
system, you will need a song configuration routine. This routine uses SLOT and
UNITS, as does the synthesizer initialization routine (above). It also needs the
variable A set to the starting address of the song to be configured.
The Integer BASIC version looks like this: (note: the song must not occupy
address 32768)
FOR B=l TO PEEK(A)
PNTR=PEEK(B+B+A-1)+PEEK(B+B+A)*256+A : CHAN=B-1
IF UNITS>1 THEN CHAN=PEEK(PNTR+2)/(l+15*(3-UNITS))
CHAN=CHAN MOD 16 : POKE PNTR+1,CHAN/4*12+CHAN+SL0T*16
NEXT B
The Applesoft version looks like this:
FOR B=l TO PEEK(A)
PNTR=PEEK(B+B+A-1)+PEEK(B+B+A)*256+A : CHAN=B-1
IF UNITS>1 THEN CHAN=PEEK(PNTR+2)/(l+15*(3-UNITS))
CHAN=CHAN-INT(CHAN/16)*16 : POKE PNTR+1,INT(CHAN/4)*12+CHAN+SL0T*16
NEXT B
When using either version, you might wish to add POKE 2048,A MOD 256 : POKE
2049.A/256 : CALL 2050 : RETURN (which is POKE 2048,A-INT(A/256)*256 : POKE
2049,A/256 : CALL 2050 : RETURN in Applesoft) to the end in order to create a
subroutine which can be GOSUBed in order to configure and play the song at
address A.
READING THE "SUGGESTED SPEED"
Assuming the song was just loaded using PRINT "dBLOAD song name,A";A the
6-7 PERFORM
Apple Music Synthesizer
suggested speed from an ENTRY-created song can be read into the variable S with
the following statement: S=PEEK(PEEK(-21920)+PEEK(-21919)*256+A-161). Note that
the entire song must be located below memory address 32768 when using Integer
BASIC. The -21920 is for a 48K system and must be -38304 on a 32K system.
Likewise, the -21919 must be -38303 on a 32K system. In either case, Apple's DOS
3.2 must be used.
TEMPO CONTROL
If you wish to use a different paddle than Paddle to control the playback
speed, you must POKE 2345, n where n is the paddle number plus 100. (For a fixed
playback speed, you may wish to install a 150K ohm 1/4 watt resistor at the game
paddle connector between the +5 and PDL3 pins; then select paddle 3 for playback
control as just described. Paddle 3 is an ideal choice since there is no switch
input for this paddle, which may prohibit use of a real paddle. For additional
information, request application note AN80-1.)
The following routine modifies PERFORM for timing mode and initializes channel
of the proper synthesizer for timing mode operation. TSLOT must be set to the
slot number of the timing mode input board, or to 8 when the game I/O input is
used, as it is for ENTRY and PLAY.
S=(SL0T+(UNITS>1))*15+132 : POKE 2113.S : POKE 2118.S
POKE 2345,99+(TSL0T*16+29)*(TSL0T<8) : POKE 2347,16
POKE S-16388,0 : POKE S-16381,48
To go to normal mode, use: POKE 2113,32 : POKE 2118,112 : POKE 2345,100 : POKE
2347,48 : POKE (SL0T+(UNITS>1))*16-16249,54. Note that the POKE 2345,100 should
be 100 plus the paddle number. The last poke (with SLOT and UNITS) is needed
only if the synthesizer is not going to be initialized prior to its next use.
A SAMPLE SESSION
The following sample session is for a 48K system with Integer BASIC and Apple's
DOS 3.2. The changes necessary for a 32K system or for Applesoft (or both) have
already been discussed above. It is assumed that the PERFORM program and the
M:MUSETTE song, as provided with the synthesizer, are already on disk.
>L0AD PERFORM
>DELETE PERFORM
>RUN
PERFORM ALF PRODUCTS INC.
>BSAVE PERFORM,A2050,L676
CONVERT PERFORM TO A BINARY FILE
Apple Music Synthesizer PERFORM 6-J
>INT _
>10 POKE 76,0 : POKE 77,124 : DIM A$(40) : INPUT "SONG NAME?",A$
>20 PRINT "dLOADM:";A$ : A=PEEK(202)+PEEK(203)*256
>30 PRINT "dBSAVE";A$;",A";A;",L";31744-A : PRINT "LENGTH: ";31744-A
>40 PRINT "dlNT"
>SAVE CONVERT
>RUN =
SONG NAME7MUSETTE
LENGTH: 1146
SAVE
CONVERT
PROGRAM
CONVERT
MUSETTE
TO BINARY
>5 POKE 74,0 : POKE 204,0 : POKE 75,64 : POKE 205,64 PROTECT PERFORM
>10 SL0T=4 : UNITS=1 (CHANGE AS REQUIRED) AND SONG AREA
>20 TSL0T=8
>30 PRINT "dBLOAD PERFORM" : DIM A$(40) LOAD PERFORM
>40 FOR S=SL0T TO SLOT+UNITS-1 INITIALIZE SYNTHESIZER
>50 PN=16*S-16256 : POKE PN,0 : POKE PN+1,0 : POKE PN+2,0
>60 POKE PN+3,3 : POKE PN+7,54 : POKE PN+7,118 : POKE PN+7,182
>70 NEXT S
>80 INPUT "SONG NAME?",A$ : A=2960 : PRINT "dBLOAD";A$;",A";A READ SONG
>90 S=PEEK(PEEK(-21920)+PEEK(-21919)*256+A-161) READ SUGGESTED SPEED
>100 IF S THEN 140
>110 S=(SL0T+(UNITS>1))*16+132 : POKE 2113.S : POKE 2118,S TIMING MODE
>120 POKE 2345,99+(TSLOT*16+29)*(TSL0T<8) : POKE 2347,16
>130 POKE S-16388,0 : POKE S-16381,48 : GOTO 180
>140 POKE 2113,32 : POKE 2118,112 : POKE 2345,100 NORMAL MODE
>150 POKE 2347,48 : POKE (SL0T+(UNITS>1))*16-16249,54
>160 PRINT "SUGGESTED SPEED: ";S
>170 PRINT PDL(0);" "; : TAB 1 : IF PEEK(-16287)<128 THEN 170
>180 FOR B=l TO PEEK(A) EITHER MODE: CONFIGURE SONG
>190 PNTR=PEEK(B+B+A-1)+PEEK(B+B+A)*256+A : CHAN=B-1
>200 IF UNITS>1 THEN CHAN=PEEK(PNTR+2)/(l+15*(3-UNITS))
>210 CHAN=CHAN MOD 16 : POKE PNTR+1,CHAN/4*12+CHAN+SL0T*16
>220 NEXT B : POKE 2048,A MOD 256 : POKE 2049,A/256
>230 CALL 2050 : GOTO 80 PLAY THE SONG
>SAVE YALP
>RUN
SONG NAME7MUSETTE
SUGGESTED SPEED: 190
(etc.) (SONG PLAYS WHEN BUTTON IS PRESSED)
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6-9 PERFORM Apple Music Synthesizer
TECHNICAL
PERFORM operates on one to nine sequences of commands stored in memory. Each
sequence of commands indicates the sounds for one channel on one synthesizer.
All the sequences will appear to be executed at the same time by PERFORM. There
are three types of commands which may be used. One type is used to control the
execution of the commands. Another type is used to set parameters for future
use. The remaining type of command is used to wait or to produce a new pitch
and wait. During the time "waited", PERFORM will automatically program volume
settings which create the selected envelopes. Envelope production is explained
in the ENTRY section and in the block diagram at the end of this section.
All commands for PERFORM are three bytes long. (Each byte is an integer from
to 255.) The first byte always indicates the particular command desired, and the
second and third bytes indicate a parameter for use by that command. When the
parameter is a two-byte integer (0 to 65535), the low byte (value MOD 256) is
given as the second byte of the command and the high byte (value/256) is given
as the third byte. The various commands available are described below.
TYPE A COMMANDS
The first type of command is used to control execution. They are CHANNEL
NUMBER, CALL, RETURN, STOP, and END.
CHANNEL NUMBER
The CHANNEL NUMBER command is used to indicate the slot and channel number to
be programmed. The second byte should be 16 times the expansion slot number
plus the channel number. Although PERFORM does not use the third byte, it should
be used to indicate stereo positioning. Its most significant four bits indicate
stereo positioning for performance with two units (meaningless in songs that
have more than six parts), and the least significant four bits indicate stereo
positioning for performance with three units. In each half byte, the two most
significant bits indicate the relative unit number (0 to 2). This number can be
added to SLOT to create the actual unit number. The two least significant bits
indicate the channel number (0 to 2). Thus, the second byte must be computed by
multiplying the "actual unit number" (above) by 16 and adding the "channel
number". The first command in each part must be a CHANNEL NUMBER command.
ENTRY compatible songs may have only one CHANNEL NUMBER command per part.
CALL
The CALL command is used to perform a subroutine call. The second and third
bytes indicate the relative address of the subroutine. During playback, the
commands in the subroutine will be executed, and then PERFORM will continue in
Apple Music Synthesizer PERFORM 6-10
the usual fashion with the commands following the CALL.
RETURN
The RETURN command marks the end of a subroutine, and causes PERFORM to
continue at the commands following the CALL. The second and third bytes must be
the same as the second and third bytes of the CALL command. ENTRY compatible
songs may have only one RETURN command per subroutine.
STOP
The STOP command indicates the end of one part's (or channel's) commands. The
envelope generator will continue to operate after a STOP command if no other
channel has encountered an END command. The second and third bytes are not
used and should be set to 0. All parts except the last one should end with a
STOP command. ENTRY compatible songs may have only one STOP command per part.
END
The END command is used to terminate PERFORM and return to the calling program.
The last part should end with an END command rather than a STOP command.
Further, the END command should be positioned as the last command in all the
data (in ENTRY compatible songs, this is followed by the "suggested speed" byte
and the 160 title bytes). Envelope production does not continue once any part
executes an END command. The second and third bytes are not used, and should
be set to 0.
TYPE B COMMANDS
The second type of command is used to set parameters. They are TRANSPOSE, GAP
SIZE, ATTACK RATE, DECAY RATE, VOLUME LEVEL, SUSTAIN LEVEL, and RELEASE RATE.
TRANSPOSE
The TRANSPOSE command is used to add or subtract a constant from all following
pitches (until a new TRANSPOSE value is programmed). The second byte indicates
the amount to add or subtract. to 127 will add a value of to 127. 128 to
255 will subtract a value of 128 to 1. Since the values are in quarter-steps,
adding a value of 24 will raise the pitch by one octave. The third byte is the
pitch mask byte. All following pitch values are ANDed with the pitch mask byte
(before the second byte transpose value is added or subtracted). This byte is
normally set to 255. ENTRY compatible songs use a value of 254 to allow
sharp/flat display selection with the least significant pitch bit.
GAP SIZE
The GAP SIZE command is used to control the release stage of envelope
production. When the number of time periods remaining to wait (during a "wait")
6-11 PERFORM Appi e Music Synthesizer
equals the GAP SIZE value, the envelope parameters will automatically be changed.
The RELEASE RATE value will be copied into the CURRENT DECAY RATE, and a will
be written into the DESIRED LOUDNESS and the CURRENT SUSTAIN LEVEL. This causes
the CURRENT LOUDNESS (and therefore the volume) of the channel to drop to at
the RELEASE RATE. The second and third bytes indicate the new GAP SIZE. When a
release stage is not desired, the GAP SIZE should be set to 65535 (255,255).
ATTACK RATE, DECAY RATE, VOLUME LEVEL, SUSTAIN LEVEL, RELEASE RATE
These commands are used to set envelope parameters. The second and third bytes
indicate the new value.
TYPE C COMMANDS
The third type of command is used to wait or to produce a new pitch and wait.
The second and third bytes indicate the number of time periods to wait before
continuing with the next command. During this wait, the envelope generator
program in PERFORM will update the envelope parameters and reprogram the volume
once each time period. These commands are PITCH and REST.
PITCH
There are 192 PITCH commands with command numbers from to 191. The command
number indicates which pitch is to be produced, subject to modification by the
two TRANSPOSE parameters. The resultant number specifies the pitch to be
programmed into the synthesizer. Pitch specification is in quarter-steps, with
being A natural at 27.5 Hz. There are 24 quarter-steps per octave. Thus, 24 is
A natural at 55 Hz. Note that in ENTRY compatible songs, the least significant
bit of the PITCH command number indicates whether sharp or flat should be
displayed, and is masked off during playback (see TRANPOSE). The PITCH command
also changes certain envelope parameters. The DECAY RATE is copied into the
CURRENT DECAY RATE, the VOLUME LEVEL is copied into the DESIRED LOUDNESS, and
the SUSTAIN LEVEL is copied into the CURRENT SUSTAIN LEVEL (see the block
diagram at the end of this section).
REST
The REST command causes the RELEASE RATE to be copied into the CURRENT DECAY
RATE, and a to be written into the DESIRED LOUDNESS and the CURRENT SUSTAIN
LEVEL. This causes the release portion of the envelope to begin. (Note: this is
the same process as caused by the time remaining equaling the GAP SIZE, see the
GAP SIZE command.)
SONG DATA
RELATIVE ADDRESSES
All relative addresses used in PERFORM (for example, the second and third bytes
Apple Music Synthesizer
PERFORM 6-12
of a CALL command) must be two-byte integers stored low byte first. The value
stored must be the actual memory address minus the starting address of the song
data.
START OF DATA
The first byte (stored at the starting address) must be the number of "parts" of
data. This must be an integer from 1 to 9. The following 2 to 18 bytes must be
the relative address of the first command of each part. Following these bytes
the subroutines (if any) are stored, and then the first part's commands, the
second's, and so forth. See the diagram below.
Two Part Song Data
r^
r^
1
V
2
1
l|h
1
1
1
PART
COMMANDS
1,1 1 l,|
|9|l|h|0|o
l 2 l I l 3 l
PART 1
COMMANDS
1,1 1 l 2 l |
|s|l 1 h 1 5 1 1
I 2 . 1 . 5 I 1
J L
Relative Subroutines
I addresses
Number of parts
Rest Stop
(final decay)
Memory addresses increase
J L
Rest End
(final decay!
PART DATA
In each part, the three-byte commands are stored one after another. Each part
must begin with a CHANNEL NUMBER command, and end with a STOP command (except
the last part must end with an END command). See the diagram above. Although a
part may contain more than one CHANNEL command, to do so would be incompatible
with ENTRY and with the "song configuration" routine given earlier in this
section.
SUBROUTINE DATA
The relative calling address to a subroutine must point to several bytes of
reserved storage which preceed the first command of the subroutine. There must
be two times as many reserved bytes as the number of parts. These reserved
bytes must be preceeded by at least 1 additional byte(s), and the number of
additional bytes plus the number of reserved bytes must be evenly divisible by
3. See the diagram below.
6-13 PERFORM
Apple Music Synthesizer
Subroutine (in two part song datCj
Relative
Calling I
Address ^
I"
7^
(Data!
2222 J 2 ' 2 I
i i i i
2
5
Vi
ii
Subroutine Commands
T7i-r
lgl L |H
ii l
I I L
J
J
Reserved
bytes
Return
(Data)
Additional
bytes to
make a
multiple
of three
Note that the calling address must point to the first of the reserved bytes, not
to the additional bytes nor to the first command in the subroutine. The
additional bytes must be stored as 254's, and the reserved bytes should be set to
254 also. When a CALL command is executed during playback, the address of the
first command after the CALL (that is, the return address) is stored in two of
the reserved bytes. (PERFORM assigns a different pair of bytes for each part.
This allows several parts to call the subroutine at once.) The RETURN command
at the end of the subroutine causes the address of the next-command-to-be-
interpreted to be read from the correct pair of reserved bytes, thus causing a
"return". Note that although a subroutine may contain more than one RETURN
command (or a RETURN command to a different subroutine), to do so would be
incompatible with ENTRY.
TEMPO COMMAND
The TEMPO command is a rather unusual command. It is used to dynamically
control playback tempo (speed). At the start of each time period, a two byte
value is written to a selected synthesizer's channel (only when using Timing
Mode). This channel must have been previously initialized to Timing Mode. This
two byte value determines the length of a time period, which will be
value/1782000 seconds. The second and third bytes of the TEMPO command
indicate a new value. Since the Timing Mode synthesizer channel controls the
playback speed for all parts, the TEMPO command can appear in any part. Note
that when using Timing Mode, channel of one synthesizer (the higher numbered
slot when using two synthesizers, or the middle slot when using three) cannot be
used to play music. Its volume should be programmed to 0.
TEMPORARIES
PERFORM uses locations 0-19 (hex) (5-C and DD-EF for the Applesoft version) for
storage of temporary values during execution.
Apple Music Synthesizer PERFORM 6-14
COMMAND NUMBERS
HEX DECIMAL COMMAND
0-BF
0-191
PITCH
C0
192
REST
CI
193
GAP SIZE
C2
194
TRANSPOSE
C3
195
ATTACK RATE
C4
196
DECAY RATE
C5
197
VOLUME LEVEL
C6
198
SUSTAIN LEVEL
C7
199
RELEASE RATE
C8
20(3
CHANNEL NUMBER
C9
201
CALL
CA
202
RETURN
CB
203
STOP
CC
204
TEMPO
CD-FD
205-253
no operation
FE
254
preceeds subroutines, treated as END if found
FF
255
END
6-15 PERFORM
Apple Music Synthesizer
BLOCK DIAGRAM
/ Entry Point /
1
initialize program variables
y.
wait for timer
i
start the timer
I
set for Part -1
v. £
select the parameters for the next Part
CURRENT LOUDNESS < DESIRED LOUDNESS
}
CURRENT LOUDNESS >
DESIRED LOUDNESS V
CURRENT LOUDNESS =
DESIRED LOUDNESS
CURRENT LOUDNESS *■
CURRENT LOUDNESS +
ATTACK RATE
CURRENT LOUDNESS <-
CURRENT LOUDNESS -
CURRENT DECAY RATE
overshot
DESIRED
LOUDNESS
undershot
DESIRED
LOUDNESS
Li
1
DESIRED LOUDNESS *-
CURRENT SUSTAIN LEVEL
CURRENT LOUDNESS
DESIRED LOUDNESS
jLjljE
send CURRENT LOUDNESS/256
to unit
last Part>-^\not the last Part
Apple Music Synthesizer
PERFORM 6-16
set for Part -1
V \
select the parameters for the next Part
TIME REMAINING ■ GAP SIZE
I
CURRENT DECAY RATE«-
RELEASE RATE
DESIRED LOUDNESS *-
CURRENT SUSTAIN LEVELS
®
1
V. 5
TIME REMAINING <- TIME REMAINING - 1
TIME REMAINING = -1
I
get Command
not the last Part
6-17 PERFORM
Apple Music Synthesizer
,
TIME REMAINING «-
Command =
205
through
253
^
Command = PITCH
Command =
REST
1
compute divisor
and send to unit
DESIRED LOUDNESS «-0
CURRENT SUSTAIN LEVEL ■*-
CURRENT DECAY RATE «-
RELEASE RATE
Command = END /■N.Command = 193 through 200
J
DESIRED LOUDNESS *■
VOLUME LEVEL
CURRENT SUSTAIN LEVEL
SUSTAIN LEVEL
CURRENT DECAY RATE *
DECAY RATE
Command = CALL
Command =
RETURN
Command =
TEMPO
set TIME REMAINING
w
process RETURN
set TEMPO
parameters
process CALL
store Command
parameter
y. v.
V
J
1
advance pointer to next Command
Exit
7
PROGRAMMING
WITH CHROMA
7-1 CHROMA
Apple Music Synthesizer
The CHROMA subroutine is used to simplify programming the synthesizer with
chromatic (equal tempered) pitches. The various routines in CHROMA are:
1. INITIALIZER. Written in BASIC, this routine initializes the synthesizer, the
CHROMA routine, and the PULSE routine.
2. PARTIAL INITIALIZER. Written in BASIC, this routine is used to initialize
additional synthesizers.
3. CHROMA. Written in 6502 assembly language, this routine is used to program
"normal mode" (square wave) pitches.
4. PULSE. Written in 6502 assembly language, this routine is used to program
"pulse mode" (pulse wave) pitches.
The parameters required by these routines, their calling procedures, functions,
and results are described below.
INITIALIZER
The INITIALIZER uses the value of the variable SLOT. Prior to calling the
INITIALIZER, this variable should be set to the expansion slot number one of your
synthesizers is plugged into. The INITIALIZER is called using GOSUB 32767. It
v/ill initialize the synthesizer, correct memory addresses in the CHROMA and
PULSE routines, assign values to the variables PITCH and VOL0, and poke SL0T*16
at PITCH+2 and at PITCH+3 (see table below). "Initialize the synthesizer" means
to set all three channels to zero volume and "normal mode".
POKE ADDRESS
NAME
PITCH
PITCH
PITCH+1
PART
PITCH+2
PITCH+3
OFFSET
PITCH+4
WIDTH
PITCH+5
PITCH+6
PITCH+7
CHROMA
(PITCH+8 i
and
P1TCH+9
PITCH+10
PULSE
(PITCH+11
anc
1 PITCH+1
PITCH+13
DESCRIPTION
Pitch number
Channel (part) number
Slot number times 16
Pitch offset
Pulse width
Divisor low
Divisor high
CHROMA entry point
are reserved.)
PULSE entry point
2 are reserved. )
(start of divisor table]
The table above shows the memory locations used for parameter storage by the
CHROMA and PULSE routines. The address of this table is indicated by the value
assigned to PITCH, which is based on the value of HIMEM (or the length of your
program when using Applesoft). Note that when using Integer BASIC, HIMEM must
Apple Music Synthesizer
CHROMA 7-2
not be -32498, -32433, or any value in between.
VOL0
VOL0
VOL0+1
V0L1
VOL0+2
V0L2
VOL0+3
VOL0+7
The variable VOL0 is used to set volume levels and change modes.
POKE ADDRESS NAME DESCRIPTION
Volume for channel
Volume for channel 1
Volume for channel 2
Mode control A
Mode control B
Values poked at the above addresses go directly to the synthesizer and cause the
volume or mode to change immediately. Values from to 255 can be poked for
volume (0=off or l=soft to 255=loud). The following values can be poked for
mode control (other values should not be used).
POKE ADDRESS VALUE FUNCTION
Both channels and 1 to pulse mode
Channel to normal mode, channel 1 to pulse mode
Channel to pulse mode, channel 1 to normal mode
Both channels and 1 to normal mode
Channel to pulse mode
Channel to normal mode
Channel 1 to pulse mode
Channel 1 to normal mode
Channel 2 to normal mode (used by the INITIALIZER)
The INITIALIZER and PARTIAL INITIALIZER set all three channels to normal mode.
To change modes, set the mode by poking the value shown above to VOL0+7, then
the appropriate value (above) to VOL0+3.
VOL0+3
VOL0+3
1
VOL0+3
2
VOL0+3
3
VOL0+7
50
VOL0+7
54
VOL0+7
114
VOL0+7
118
VOL0+7
182
The value assigned to VOL0 by the INITIALIZER or PARTIAL INITIALIZER is
different for each expansion slot and is calculated by the formula VOL0=SLOT*16-
16256.
The mnemonic variable names shown in the first table can be set using the
following statements. (Note: the variable name PART was given as CHANNEL, which
is more appropriate, in previous manuals. However, Applesoft does not allow two
variables to be named CHANNEL and CHROMA.) The setup and calling of the
INITIALIZER is included:
10 SL0T=4 (replace 4_ with the proper slot number)
20 GOSUB 32767 : PART=PITCH+1 : 0FFSET=PITCH+3 : WIDTH=PITCH+4 :
CHR0MA=PITCH+7 : PULSE=PITCH+10 : VOL1=VOL0+1 : VOL2=VOL0+2
NOTE: Applesoft does not allow three variables to be named VOL0, V0L1, and V0L2.
Applesoft users should pick names for V0L1 and V0L2 (if they need these
variables) which do not begin with the same 2 letters as any other variable, and
complain to Microsoft.
7-3 CHROMA Apple Music Synthesizer
PARTIAL INITIALIZER
When more than one synthesizer is used, the units not initialized with the
INITIALIZER (GOSUB 32767) must be initialized with the PARTIAL INITIALIZER. For
each additional board, set SLOT to the proper expansion slot number, and call the
PARTIAL INITIALIZER using GOSUB -2. It will initialize the synthesizer and set
VOL0 to the volume control address for that slot number. Previous values of
VOL0 set by the INITIALIZER or PARTIAL INITIALIZER should be assigned to other
variables if they must be retained. (The value of VOL0 for any slot is computed
by the formula VOL0=SLOT*16-16256.) Note that GOSUB -2 does not cause the slot
number times 16 to be written at PITCH+2 or a zero to be written at PITCH+3.
GOSUB -3 can be used instead if you wish to have these values poked. (On
systems where Applesoft doesn't allow GOSUB with negative numbers, use 63998
instead of -2 and 63997 instead of -3.)
CHROMA
CHROMA uses the parameters poked at PITCH, PART, PITCH+2, and OFFSET. It
changes the contents of PITCH+5 and PITCH+6. When called using CALL CHROMA (or
CALL PITCH+7), CHROMA programs the desired channel (indicated by PART) on the
desired synthesis board (indicated by the slot number times 16 at PITCH+2) with
the desired pitch (indicated by PITCH and OFFSET). To do this, CHROMA will
calculate a two-byte divisor which it stores at PITCH+5 and PITCH+6 in case it is
needed for PULSE (see the PULSE routine in this section). The precise function
of these poked parameters is as follows:
PART (PITCH+1)
This indicates which of the three channels is to be programmed. It must be an
integer from to 2. Adding 128 will inhibit programming of the synthesizer but
the divisor will still be computed and stored.
PITCH+2
This indicates the slot number of the synthesizer to be programmed. The value
poked must be the slot number (0 to 7) times 16. If only one synthesizer is
used, this parameter does not need to be poked since it is initialized to SL0T*16
by the INITIALIZER.
PITCH
This indicates the quarter-tone pitch to be programmed. The values for half-
tones in the lowest octave are:
Apple Music Synthesizer
CHROMA 7-4
A 8 C sharp
2 A sharp 10 D
4 B 12 D sharp
6 C 14 E
For quarter-tones,
16
18
20
22
F sharp
G
G sharp
add
1. For higher octaves, add the numbers shown below to
the numbers shown above. The frequency of the A in that octave is also shown
below. (Note: "octaves" here start at A.)
A (Hz) Add A (Hz) Add A (Hz) Add A (Hz) Add
27.5 110 48 440 96 1760 144
55 24 220 72 880 120 3520 168
The highest pitch (G sharp plus a quarter-step) in the highest octave is 22+1+168
(or 191), so pitch values should be from to 191. Some common notes and their
values are (for sharp, add 2; for flat, subtract 2):
Hex Decimal Note
70
112
F
6E
110
E
6A
106
D
66
102
C
64
100
B
60
96
A 440
5C
92
G
58
88
F
56
86
E
52
82
D
4E
78
Middle C
4C
76
B
48
72
A
44
68
G
40
64
F
3E
62
E
3A
58
D
36
54
C
34
52
B
30
48
A
2C
44
G
OFFSET (PITCH+3)
This indicates how sharp the pitch should be from standard tuning. is used
for standard A=440 Hz tuning (as initialized by GOSUB 32767 or GOSUB -3), and
numbers from 1 to 255 are used to raise the pitch slightly. All pitches selected
using OFFSET are less than or equal to the pitch selected by a PITCH setting one
higher. Note that the pitches selected by various values of PITCH increase
exponentially, whereas the pitches selected by various values of OFFSET (with a
constant PITCH setting) increase linearly.
7-5 CHROMA Apple Music Synthesizer
PULSE
The PULSE routine is used to create pulse waves using channel and/or channel
1. The frequency (pitch) of the pulse wave will be the same as the frequency of
channel 2. The INITIALIZER sets all channels to normal mode, so channels to be
used with PULSE must be changed to "pulse mode" as previously described. The
parameters poked at PART, PITCH+2, WIDTH, PITCH+5, and at PITCH+6 are used.
PULSE is called using CALL PULSE (or CALL PITCH+10). The precise function of
each parameter is as follows:
PART (PITCH+1)
This indicates which of the two channels is to be programmed. It must be either
or 1. Adding 128 will inhibit programming of the synthesizer but the divisor
will still be calculated and stored (see divisor storage locations below).
PITCH+2
This indicates the slot number of the synthesizer to be programmed. The value
must be the slot number (0 to 7) times 16.
WIDTH (PITCH+4)
This indicates the width of the low part of each cycle. Numbers from to 126
indicate a short low portion, and numbers from 128 to 255 indicate a long low
portion. 127 is used to program a square waveform.
PITCH+5 and PITCH+6
These must contain the divisor currently programmed for channel 2. If CHROMA
was called most recently for channel 2, these locations will already be set to
the divisor (by CHROMA).
The divisor calculated by PULSE is stored at locations 81 and 82 decimal (61 and
62 in Applesoft). It may be read using peek immediately after calling PULSE.
Apple Music Synthesizer CHROMA 7-6
CHROMA EXAMPLE
To program a three note chord of Middle C, E, G at maximum volume, begin by
loading CHROMA. Now type in the following program, remembering to change the 4_
to the correct expansion slot number.
10 SL0T=4
20 GOSUB 32767 : PART=PITCH+1 : 0FFSET=PITCH+3 : CHR0MA=PITCH+7
POKE VOL0.255
30 POKE PART,0 : POKE PITCH.78 : CALL CHROMA
40 POKE PART,1 : POKE PITCH,86 : CALL CHROMA
50 POKE PART.2 : POKE PITCH.92 : CALL CHROMA
60 END
POKE VOL0+1.255
POKE VOL0+2.255
Now run the program. The synthesizer will be programmed for the C E G chord,
and it will continue to produce the chord until programmed to do something else.
The chord can be cleared by typing GOTO -2.
PULSE EXAMPLE
The following program produces one tone with the pitch controlled by Paddle
and the pulse width controlled by Paddle 1. As in the above example, begin by
loading CHROMA. Then add the program below, remembering to correct the slot
number.
10 SL0T=4
20 GOSUB 32767 : PART=PITCH+1 : WIDTH=PITCH+4
30 CHR0MA=PITCH+7 : PULSE=PITCH+10 : POKE VOL0+7.50 : POKE VOL0+3.2
40 POKE PART.2 : POKE PITCH,PDL(0)/2 : CALL CHROMA
50 POKE PART.0 : POKE WIDTH,PDL(1) : CALL PULSE
60 POKE VOL0,255 : GOTO 40
Now run the program, and twist the paddle knobs like mad. Stop the program, and
type POKE VOL0,0 to stop the noise.
8
PROGRAMMING
BARE HANDED
8-1 BARE HANDED Apple Music Synthesizer
The Apple Music Synthesizer is programmed by means of 8 "ports". Each port is
assigned a particular memory address, and information can be sent to a port by
writing a byte (an integer from to 255) to that memory address (using 6502
Assembly Language or BASIC'S POKE). Reading from these memory addresses does
not affect the synthesizer. The ports are numbered from to 7. The memory
address of each port is calculated by the formula SL0T*16-16256+P where SLOT is
the expansion slot number used by the synthesizer and P is the desired port
number (both should be to 7).
The function of each port is as follows:
PORT FUNCTION
Volume control for channel
1 Volume control for channel 1
2 Volume control for channel 2
3 Mode control A
4 Divisor for channel
5 Divisor for channel 1
6 Divisor for channel 2
7 Mode control B
Ports 0-2 are used to control the volume. A byte written to one of these ports
will cause the volume of the appropriate channel to change immediately to the
new value (fhoff or l=soft to 255=1 oud). The relative output voltage for any
volume setting (VOL) is computed by 2 1 (V0L/32)*(V0L MOD 32 + 33)-33 with Integer
BASIC, or by 2 * INT(VOL/32)*(VOL-INT(V0L/32)*32 + 33)-33 with Applesoft BASIC.
Ports 3 and 7 are used for mode control. Before use, all channels must be
initialized to either normal mode or pulse mode to insure proper operation. Port
3 selects whether the pitch control will be provided by the Apple or by the
output of Channel 2. Port 7 selects whether the divisor will control the pitch or
the pulse width. Normally both ports 3 and 7 are set to indicate either normal
mode or pulse mode. Port 7 should be programmed before port 3 for best
results.
The value written to port 3 has the following effects:
VALUE MEANING
Both channels and 1 to pulse mode
1 Channel to normal mode, channel 1 to pulse mode
2 Channel to pulse mode, channel 1 to normal mode
3 Both channels and 1 to normal mode
Other values should not be used.
Apple Music Synthesizer BARE HANDED 8-2
Values written to port 7 have the following effects:
VALUE MEANING
50 Set channel to pulse mode, channels 1 and 2 not affected
54 Set channel to normal mode, channels 1 and 2 not affected
114 Set channel 1 to pulse mode, channels and 2 not affected
118 Set channel 1 to normal mode, channels and 2 not affected
182 Set channel 2 to normal mode, channels and 1 not affected
Other values should not be used except as noted in the TIMING MODE section.
When a channel is set to a mode using port 7, the output of its pitch generator
will go high and stay high until both bytes of a divisor are written. The high
part of the cycle will then begin. (Note: port 3 should be set after port 7 is
set but before the first divisor is programmed.)
When a channel is set to pulse mode with port 7 but normal mode with port 3, the
output of its pitch generator will stay high. When a channel is set to pulse
mode with port 3 but normal mode with port 7, the output of its pitch generator
will be high when the output of channel 2's pitch generator is low, and when the
channel 2 output goes high the mixed-mode channel will begin normal square wave
operation starting with the high part of the cycle. (Once the channel 2 output
returns to low, the mixed-mode channel will go high and stay high until the
channel 2 output goes high again.)
Any of the three channels can also be set to a special "timing mode" where the
channel is used to simulate the Apple "paddle" timers, but with a programmable
setting. See the TIMING MODE section for details.
Ports 4-6 are used to program the divisor. Once a channel has been initialized,
it will be expecting the low byte of the divisor (D MOD 256). Once the low byte
is written, it will be expecting the high byte of the divisor (D/256). Once the
high byte is written, the new divisor will be used by the pitch generator; and
the low byte of the next divisor will be expected.
When in normal mode, the divisor determines the frequency to be produced by the
pitch generator. The duty cycle is always approximately 50% and cannot be
altered. The output frequency will be 1782000/D Hz (where D is the divisor
programmed) plus or minus 0.015%. The value D must be an integer from 32 to
65536. (Note: 55536 must be programmed as 0. Values less than 32 are possible
but should not be used.) When a new divisor is programmed, it does not take
effect until the associated pitch generator's output goes high after the high byte
of the divisor was written.
When in pulse mode, the divisor determines the time duration of the low portion
8-3 BARE HANDED Apple Music Synthesizer
of the pulse wave. The frequency is determined by the frequency output of
channel 2's pitch generator. Just after the low to high change of channel 2's
pitch generator output, the output of the pulse mode channel's pitch generator
will go low. It will stay low for D/1782000 seconds plus or minus 0.015%. If
the channel 2 output has again gone high during this time, the pulse mode output
will stay low. Otherwise, the pulse mode output will go high and stay high until
the next time the channel 2 output goes high. The value D must be an integer
from 1 to 65536. (Note: 65536 must be programmed as 0.) When a new divisor is
programmed, it does not take effect until the first low to high change in the
output of channel 2's pitch generator after the high byte of the divisor was
written.
Apple Music Synthesizer BARE HANDED 8-4
DIVISOR CALCULATION
Pitches and volumes must increase (and decrease) exponentially to achieve an
apparent linear increase (for humans). Exponential volume increases are
automatically created by the exponential amplifiers in the volume control
circuitry. Exponential pitch increases must be created by selecting divisors
which result in exponentially higher (and lower) pitches.
The most common exponential pitch spacing is the equal tempered scale, which is
similar to the piano scale. This scale is divided into "octaves" with 12 notes
per octave (half tones) or 24 notes per octave (quarter tones) depending on the
application. An octave is defined to mean that the frequency of a note is twice
that of the same note in the next lower octave. The frequency, F(N), of any
particular note, N, in an octave is calculated by F(N)=F(0)*(2 t (N/X)) where X is
the number of notes per octave, F(0) is the frequency (pitch) of the lowest note
in the octave (in Hz, or cycles per second), and N must be an integer from to
X-l. (Note: although written in standard BASIC format, the formulas here are not
intended to be computed in BASIC without careful consideration of the accuracy
required. Floating-point calculation should be used in any case.) The frequency,
F(N,Q), of any given note, N, in any given octave, Q, is calculated
F(N,Q)=F(N,0)*(2tQ) where F(N,0) is equivalent to F(N) in the previous formula and
Q is an integer. The lowest note on a piano has a frequency of 27.5 Hz (using
standard A=440 Hz tuning). Thus the frequency, F(N,Q), of any piano note is
F(N,Q)=27.5*(2f (Q+N/12)) Hz, where N is the note number from to 11 and Q is the
octave number from to 7. (Note: pianos have no notes where N is greater than
3 if Q is 7. N=0 indicates an A natural pitch.) Therefore the desired divisors
for piano notes are: D(N,Q)=INT(1 782000/(27. 5*(2 t (Q+N/12)))+0.5). Note that the 12
can be replaced with a 24 (and the range of N extended to 0-23) to obtain
quarter tones. It is usually convenient to calculate divisors using a small look-
up table containing D(N,0) and dividing by 2tQ and rounding. This is easily
accomplished in assembly language by shifting the divisor right Q times (shifting
in 0's) and then adding in the last bit shifted out in order to round.
8-5 BARE HANDED Apple Music Synthesizer
TUNING
It may be useful to know that musicians use "cents" to express the amount of
deviation from correct tuning for half tones. A note too high (sharp) by 100
cents would be the right frequency for the next higher half step. The formula
for cents is (1200*LOG(F/X))/LOG(2) where X is the correct frequency in Hz and F
is the actual frequency produced in Hz. (The LOG may be in any base, as long as
it is always the same base.) Inaccurate tuning in the synthesizer's pitches
results mainly from the fact that only integral values can be used for the
divisor (D). This creates pitches out of tune by amounts varying from to 0.020
cents in the lowest 12 notes of the piano scale, which increase to 0.067 to 1.204
cents in the top 12 notes. (The 0.015% crystal accuracy adds a maximum of 0.260
cents.) Tuning accuracy within 2 cents should be considered excellent and
suitable for any purpose.
9
TIMING MODE
9-1 TIMING MODE Apple Music Synthesizer
When playing songs with PERFORM (see the PERFORM section), song tempo (playback
speed) is normally controlled by the setting of paddle 0. (Note: since both ENTRY
and PLAY use PERFORM, this section applies to playback with ENTRY and PLAY as
well as PERFORM.) The paddles on the Apple actually control hardware timers,
which (when using the PDL functions) the software measures the time delay of in
order to produce a number from to 255. PERFORM uses this time delay to
control the playback speed directly, so the physical positioning of the paddle
knob (not the imaginary to 255 number) adjusts the speed. In many applications,
this may be undesirable. It is especially undesirable in two particuarly common
procedures. One is the use of DISCO for continuous playback of songs. Songs
generally have a variety of paddle settings, and it is inconvenient to have to
re-adjust the paddle knob position between each song. The second occurs in
songs which have ritards or similar tempo changes from one section to another.
It would be inconvenient to create such changes by manually adjusting the knob
while the song plays.
Fortunately, the TEMPO command can be used to select any of a variety of
playback speeds. (See the PERFORM and ENTRY sections.) However, the TEMPO
command is only used when "timing mode" is activated. Timing mode is a special
mode in which one channel of one synthesizer is programmed to function similar
to the Apple paddle timers. The pitch programmed into that channel determines
the delay time (and thus the playback speed) rather than a physical knob
position. Naturally, this means that one synthesizer channel cannot be used for
normal playback, since it is occupied with the timing tone.
The software provided with the synthesizer is only programmed for timing mode
using channel of a particular synthesizer. (The higher numbered slot when
using 2 synthesizers, and the middle slot when using 3.) When writing your own
software, any channel can be used.
CONNECTION
In order to use timing mode, the output of the channel to be used must be
connected into the Apple's hardware so its status can be read. There are two
simple ways to do this. The easiest method is to use the Timing Mode Input
Board (ALF part number 10-5-17) which plugs into any expansion slot in the Apple,
and connects to the empty socket on a synthesizer. However, if it is undesirable
to use an additional slot, a channel output can be connected to the Apple Game
I/O connector using a simple "header to header" cable (ALF part number 10-1-8),
and the Game I/O Socket Extender (ALF part number 10-1-9) which allows both the
game paddles and the header to header cable to be plugged in at the same time.
Using either scheme, the cables are constructed to use channel (as required by
standard ALF software). Those who wish to make a header to header cable
Apple Music Synthesizer TIMING MODE 9-2
themselves should connect pin 3 of a 14-pin DIP IC header (for the empty socket
on the synthesizer) to pin 4 (switch input 2) of a 16-pin DIP IC header (for the
Apple Game I/O socket).
ENTRY & PLAY
ENTRY and PLAY contain a line 20 which is normally 20 TSL0T=8. The 8 value
selects the Game I/O connection method. Values from to 7 select the Timing
Mode Input Board connection method and also indicate which slot the TMIB is in.
In either case, the header which plugs into the empty socket on the synthesizer
must be connected to the higher numbered unit (the "right" unit) when using 2
synthesizers, or the middle unit when using 3.
It is important to note that the channel used for timing mode should not be
assigned a part of the music. Thus, the number of parts which can be played
when timing mode is activated (suggested speed=0) is 2, 5, or 8 (for 1, 2, or 3
synthesizers). When using the STEREO command (see the ENTRY section), you must
remember that only 2 R's can be used if you have 2 units; or that only 2 M's can
be used if you have 3 units. Since the assumed stereo for three units is
MLRMLRMLR (which would have 3 M's if 7 or 8 parts are used), this must be
changed after each EDIT command if the number of parts is changed to 7 or 8.
Remember that each song must begin with a TEMPO command in one of the parts
before the first note or rest (or CALL to a subroutine with a note or rest).
Traditionally, this is done in Part 0.
9-3 TIMING MODE Apple Music Synthesizer
TECHNICAL
To initialize a channel to "timing mode", port 3 (mode control A) is set to
"normal mode". The following value is sent to port 7 (mode control B): 48 for
channel 0, 112 for channel 1, or 176 for channel 2. Note that no mode control A
setting is required for channel 2. The pitch generator output of the selected
channel will go low upon initialization. Volume for the timing mode channel
should be set to unless you wish to hear the timing tone.
To "set" the timer, a two byte divisor, D, is sent in the normal fashion (see the
BARE HANDED programming section). The output will go low (or stay low if it is
already low). After D/1782000 plus or minus 0.015% seconds, the output will go
high, and stay high until the next divisor is programmed. This is the same as
the Apple paddle timers, except the signal is inverted (the Apple timers go high
when set and go low upon time-out).
10
LISTINGS
10-1 LISTINGS
Apple Music Synthesizer
PERFORM (INTEGER VERSION)
0000
10
* PERFORM SUBROUTINE
WW
20
*
WW
30
* BY JOHN RIDGES
WW
40
*
WW
50
* ALF PRODUCTS INC.
WW
60
*
0000
70
ORG
0000
80
* BASE 1
PAGE USAGE
0000
90
SPNTR
BSS 2
SONG DATA POINTER
0002
100
COUNT
BSS 1
PART COUNTER
0003
110
TEMPI
BSS 1
0004
120
TEMP2
BSS 1
0005
130
TEMP3
BSS 2
0007
140
PARNUM
BSS 19
NUMBER OF PARTS
0008
150
PARPNT
EQU PARNUM+1
PART POINTERS
0800
160
ORG $800
0800
170
* SUBROUTINE PARAMETER
0800
180
DPMTR
BSS 2
SONG DATA BEGINNING ADDRESS
0802
190
* SUBROUTINE ENTRY POINT
0802
8A
200
TXA
SAVE X
0803
48
210
PHA
REGISTER
0804
AD
00 08
220
LDA DPNTR
SET SONG
0807
85
00
230
STA /SPNTR
DATA POINTER
0809
AD
01 08
240
LDA DPNTR+1
080C
85
01
250
STA /SPNTR+1
080E
A0
00
260
LDY #0
GET NUMBER
0810
Bl
00
270
LDA SPNTR), Y
ASL A
OF PARTS
0812
0A
280
0813
85
07
290
STA /PARNUM
0815
A2
00
300
LDX #0
SET UP
0817
C8
310
CPYADR
I NY
PART POINTERS
0818
Bl
00
320
LDA (SPNTR) ,Y
081A
18
330
CLC
081B
55 00
34^
ADC /SPNTR
081D
95
08
350
STA /PARPNT, X
081 F
E8
360
I NX
0820
C8
370
INY
0821
31
00
380
LDA (SPNTR), Y
0823
65
01
390
ADC /SPNTR+1
0825
95
08
400
STA /PARPNT, X
0827
E8
410
I NX
0828
E4 07
420
CPX /PARNUM
082A
D0
EB
430
BNE CPYADR
082C
46
07
440
LSR /PARNUM
082E
A2
EA
450
LDX #234
CLEAR
0830
A9
00
460
LDA #0
PARAMETER AREA
0832
9D
A5 0A
470
CLEAR
STA TIME-l.X
0835
CA
480
DEX
0836
D0
FA
490
BNE CLEAR
0838
500
* MAIN
EXECUTION LOOP
0838
A5
07
510
LDA /PARNUM
SET UP
083A
85
02
520
STA /COUNT
PART COUNTER
083C
A2
00
530
MAIN
ldx m
083E
A9
00
540
PLACE1
lda m
STA $C020
RESERVE SPACE
0840
8D
20 C0
550
FOR TEMPO
0843
A9 00
560
PLACE2
LDA W
COMMAND
0845
80
70 C0
570
STA $C070
START TIMER
0848
580
* ENVELOPE PROCESSING SECTION
Apple Music Synthesizer
LISTINGS 10-2
(3848
BD
B8 0A
590
ENVEL
LDA LOUDNS,X
CHECK CL (CURRENT LOUDNESS)
084B
38
600
SEC
AND DL (DESIRED LOUDNESS)
084C
FD
BC 0A
610
SBC DESIRE, X
084F
85
03
620
STA /TEMPI
0851
BD
B9 0A
630
LDA LOUDNS+l.X
0854
FD
BD 0A
640
SBC DESIRE+1, X
0857
90
12
650
BCC UPLD
BRANCH IF CL<DL
0859
05
03
660
ORA /TEMPI
085B
D0
31
670
BNE DWNLD
BRANCH IF CL>DL
085D
BD
BE 0A
680
LDA CURSUS.X
CL=DL
0860
9D
BC 0A
690
STA DESIRE, X
DL -CURRENT SUSTAIN LEVEL
0863
BD
BF 0A
700
LDA CURSUS+l.X
0866
9D
BD 0A
710
STA DESIRE+1 ,X
0869
B0
66
720
BCS NEXTE
086B
BD B8 0A
730
UPLD
LDA LOUDNS,X
CL:=CL+ATTACK RATE
086E
7D
AC 0A
740
ADC ATTACK, X
0871
9D
B8 0A
750
STA LOUDNS.X
0874
BD
B9 0A
760
LDA LOUDNS+l.X
0877
7D
AD 0A
770
ADC ATTACK+l.X
087A
9D
B9 0A
780
STA LOUDNS+l.X
087D
B0
31
790
BCS ETHERE
BRANCH IF OVERSHOT DL
087F
A8
800
TAY
COMPARE CL AND DL
0880
BD
B8 0A
810
LDA LOUDNS,X
0883
DD
BC 0A
820
CMP DESIRE, X
0886
93
830
TYA
0887
FD
BD 0A
840
SBC DESIRE+1 ,X
088A
90
3C
850
BCC SENDE
DON'T BRANCH IF OVERSHOT DL
088C
B0
22
860
BCS ETHERE
088E
BD
B8 0A
870
DWNLD
LDA LOUDNS,X
CL:=CL-CURRENT DECAY RATE
0891
FD
BA 0A
880
SBC DOWN,X
0894
9D
B8 0A
890
STA LOUDNS,X
0897
BD
B9 0A
900
LDA LOUDNS+L.X
089A
FD
BB 0A
910
SBC DOWN+l.X
089D
9D
B9 0A
920
STA L0UDNS+1.X
08A0
90 0E
930
BCC ETHERE
BRANCH IF UNDERSHOT DL
08A2
BD
BC 0A
940
LDA DESIRE, X
COMPARE CL AND DL
08A5
DD
B8 0A
950
CMP LOUDNS.X
08A8
BD
BD 0A
960
LDA DESIRE+1, X
08AB
FD
B9 0A
970
SBC LOUDNS+l.X
08AE
90
18
980
BCC SENDE
DON'T BRANCH IF UNDERSHOT DL
08B0
BD
BC 0A
990
ETHERE
LDA DESIRE, X
CL:=DL
08B3
9D
B8 0A
1000
STA LOUDNS.X
08B6
BD
BD 0A
1010
LDA DESIRE+1, X
08B9
9D
B9 0A
1020
STA LOUDNS+l.X
08BC
BD
BE 0A
1030
LDA CURSUS.X
DL:=CURRENT SUSTAIN LEVEL
08BF
9D
BC 0A
1040
STA DESIRE, X
08C2
BD
BF 0A
1050
LDA CURSUS+l.X
08C5
9D
BD 0A
1060
STA DESIRE+1, X
08C8
BC
B6 0A
1070
SENDE
LDY CHAN.X
SEND LOUDNESS
08CB
BD
B9 0A
1080
LDA LOUDNS+l.X
TO UNIT
08CE
99
80 C0
1090
STA $C080,Y
08D1
8A
1100
NEXTE
TXA
REPEAT FOR
08D2
18
1110
CLC
NEXT PART
08D3
69
1A
1120
ADC #ASIZE
08D5
AA
1130
TAX
08D6
C6
02
1140
DEC /COUNT
08D8
F0 03
1150
BEQ C0NT1
08DA
4C
48 08
1160
JMP ENVEL
08DD
A2
00
1170
C0NT1
LDX #0
INITIALIZE PART COUNTER
08DF
1180
* NOTE
DURATION SECTION
08DF
BD
A5 0A
1190
LENGTH
LDA TIME.X
COMPARE TIME REMAINING
10-3 LISTINGS
Apple Music Synthesizer
08E2
08E5
08E7
08EA
08ED
08EF
08F2
08F5
08F8
08FB
08FD
0900
0903
0906
0909
090B
090E
0911
0913
0916
0919
091B
091C
091D
091F
0920
0922
0924
0926
0928
092B
092D
0930
0930
0931
0932
0934
0935
0936
0938
093A
093C
093C
093D
093E
0940
0942
0944
0946
0948
094A
094A
094D
0950
0952
0954
0956
0958
095A
095B
095D
DD A8 0A
00 22
BD A7 0A
DD A9 0A
D0 1A
BD B4 0A
9D BA 0A
BD B5 0A
9D BB 0A
A9 00
9D BC 0A
9D BD 0A
9D BE 0A
9D BF 0A
A9 FF
DE A6 0A
DD A6 0A
D0 08
DE A7 0A
DD A7 0A
F0 15
8A
18
69 1A
AA
E6 02
A5 02
C5 07
D0 B7
2C 64 C0
30 FB
4C 3C 08
8A
A8
A5 02
0A
AA
Al 08
C9 CB
D0 04
98
AA
B0 DB
F6 08
D0 02
F6 09
C9 C0
B0 57
39 AB 0A
79 AA 0A
86 04
A2 00
C9 18
90 05
E9 18
E8
D0 F7
86 03
1200
CMP GAP,X
AND GAP SIZE
1210
BNE DECR
BRANCH IF UNEQUAL
1220
LDA TIME+l.X
1230
CMP GAP+l.X
1240
BNE DECR
BRANCH IF UNEQUAL
1250
LDA RELEAS.X
EQUAL; START NOTE
1260
STA DOWN.X
RELEASE
1270
LDA RELEAS+l.X
CURRENT DECAY RATE:=
1280
STA DOWN+l.X
RELEASE RATE
1290
LDA #0
DL:=0
1300
STA DESIRE, X
CURRENT SUSTAIN LEVEL:
1310
STA DESIRE+l.X
1320
STA CURSUS.X
1330
STA CURSUS+l.X
1340
DECR
LDA #$FF
DECREMENT TIME REMAINING
1350
DEC TIME.X
1360
CMP TIME.X
1370
BNE NEXTL
1380
DEC TIME+l.X
1390
CMP TIME+l.X
1400
BEQ PROCES
BRANCH IF NO TIME LEFT
1410
NEXTL
TXA
CONTINUE WITH
1420
CLC
NEXT PART
1430
ADC #ASIZE
1440
TAX
1450
INC /COUNT
1460
LDA /COUNT
1470
CMP /PARNUM
1480
BNE LENGTH
1490
WAIT
BIT $C064
WAIT FOR TIMER
1500
BMI WAIT
1510
JMP MAIN
1520
* SONG
DATA COMMAND PROCESSING SECTION
1530
PROCES
TXA
1540
TAY
1550
LDA /COUNT
1560
ASL A
1570
TAX
1580
LDA (PARPNT.X)
GET COMMAND TYPE
1590
CMP #203
1600
BNE NOSTOP
BRANCH IF NOT "STOP"
1610
* PROCESS STOP :Oi<HAND
1620
TYA
DO NOTHING
1630
TAX
1640
BCS NEXTL
1650
NOSTOP
INC /PARPNT,X
1660
BNE N0CAR1
1670
INC /PARPNT+l.X
1680
N0CAR1
CMP #192
1690
BCS NPITCII
BRANCH IF NOT "PITCH"
1700
* PROCESS PITCH COMMAS
1710
AND TRANS+l.Y
1720
ADC TRANS, Y
1730
STX /TEMP2
COMPUTE DIVISOR
1740
LDX #0
DIVIDE PITCH BY 24
1750
DIV
CMP #24
1760
BCC DIV1
1770
SBC #24
1780
I NX
1790
BNE DIV
1800
DIV1
STX /TEMPI
Apple Music Synthesizer
LISTINGS 10-4
095F
0960
0961
0964
0966
0969
096B
096D
096E
0970
0972
0974
0977
0979
097B
097D
097F
0982
0984
0987
0989
098C
098E
0990
0993
0996
0997
0998
099A
099C
099E
09A1
09A3
09A3
09A6
09A9
09AC
09AF
09B1
09B4
09B7
09BA
09BD
09BE
09C0
09C2
09C3
09C5
09C8
09CA
09CC
09CE
09D0
09D3
09D5
09D7
09D9
09DB
09DE
09E0
09E2
0A
AA
BD 76 0A
85 05
BD 77 0A
85 06
A6 03
CA
30 07
46 06
66 05
4C 6D 09
90 06
E6 05
D0 02
E6 06
BE B6 0A
A5 05
9D 84 C0
A5 06
9D 84 C0
A2 06
84 03
B9 AE 0A
99 BA 0A
C8
CA
D0 F6
A6 04
A4 03
4C C3 09
D0 3B
B9 B4 0A
99 BA 0A
B9 B5 0A
99 BB 0A
A9 00
99 BC 0A
99 BD 0A
99 BE 0A
99 BF 0A
18
84 03
65 03
A8
Al 08
99 A6 0A
F6 08
D0 02
F6 09
Al 08
99 A7 0A
F6 08
M
J9
A6 03
4C 09 09
85 03
A9 00
99 A6 0A
D0
F6
1810
ASL A
LOOK UP
1820
TAX
SUB-OCTAVE DIVISOR
1830
LDA TABLE, X
1840
STA /TEMP3
1850
LDA TABLE+l.X
1860
STA /TEMP3+1
1870
LDX /TEMPI
1880
OCTAVE
DEX
DIVIDE DIVISOR
1890
BMI ROUND
TO RIGHT OCTAVE
1900
LSR /TEMP3+1
1910
ROR /TEMP3
1920
JMP OCTAVE
1930
ROUND
BCC SENDP
ROUND RESULT
1940
INC /TEMP3
1950
BNE SENDP
1960
INC /TEMP3+1
1970
SENDP
LDX CHAN,Y
SEND PITCH TO UNIT
1980
LDA /TEMP3
1990
STA $C084,X
2000
LDA /TEMP3+1
2010
STA $C084,X
2020
LDX #6
START "ADSR" CYCLE
2030
STY /TEMPI
2040
CYCLE
LDA DECAY, Y
2050
STA DOWN.Y
2060
INY
2070
DEX
2080
BNE CYCLE
2090
LDX /TEMP2
2100
LDY /TEMPI
STORE NOTE TIME
2110
JMP ST0RD1
2120
NPITCH
BNE NREST
BRANCH IF NOT "REST 1
2130
* PROCESS REST COMMAND
2140
LDA RELEAS.Y
DO A "RELEASE"
2150
STA DOWN,Y
2160
LDA RELEAS+l.Y
2170
STA DOWN+l.Y
2180
LDA #0
2190
STA DESIRE, Y
?.?m
STA DESIRE+l.Y
2210
STA CURSUS,Y
2220
STA CURSUS+l.Y
2230
CLC
2240
STORD
STY /TEMPI
STORE PARAMETER
2250
ADC /TEMPI
IN PARAMETER AREA
2260
TAY
2270
ST0RD1
LDA (PARPNT,X)
2280
STA TIME.Y
2290
INC /PARPNT,X
2300
BNE N0CAR2
2310
INC /PARPNT+l.X
2320
N0CAR2
LDA (PARPNT.X)
2330
STA TIME+l.Y
2340
FIXUP
INC /PARPNT,X
2350
BNE N0CAR3
2360
INC /PARPNT+l.X
2370
N0CAR3
LDX /TEMPI
2380
JMP DECR
2390
NREST
STA /TEMPI
SET SO COMMAND
2400
LDA #0
TAKES ZERO TIME
2410
STA TIME.Y
10-5 LISTINGS
Apple Music Synthesizer
09E5
99
A7 0A
2420
STA
TIME+l.Y
09E8
A5
03
2430
LDA /TEMPI
09EA
C9
C9
2440
CMP #201
09EC
B0 05
2450
BCS
NSTORE
BRANCH IF NOT A
09EE
E9
BF
2460
SBC
#191
STORED COMMAND
09F0
PA
2470
ASL
A
09F1
D0
CB
2480
BNE
STORD
09F3
84 03
2490
NSTORE
STY
/TEMPI
09F5
D0
34
2500
BNE
NOCALL
BRANCH IF NOT A "CALL"
09F7
2510
* PROCESS (JUL (JLM'-'iArin
09F7
Al
08
2520
LDA
(PARPNT,X)
COMPUTE CALLED ADDRESS
09F9
18
2530
CLC
09FA
65
00
2540
ADC
/SPNTR
09FC
85
05
2550
STA
/TEMP3
09FE
F6
08
2560
INC
/PARPNT,X
0A00
D0 02
2570
BNE
N0CAR4
O
0A02
F6
09
2580
INC
/PARPNT+l.X
0A04
Al
08
2590
N0CAR4
LDA
(PARPNT.X)
0A06
65
01
2600
ADC
/SPNTR+1
0A08
85
06
2610
STA
/TEMP3+1
0A0A
8A
2620
TXA
STORE RETURN ADDRESS
0A0B
A8
2630
TAY
0A0C
B5
08
2640
LDA
/PARPNT.X
0A0E
69
01
2650
ADC
#1
0A10
91
05
2660
STA
(TEMP3),Y
0A12
C8
2670
I NY
0A13
B5 09
2680
LDA /PARPNT+1,X
0A15
69
00
2690
ADC
#0
0A17
91
05
2700
STA
(TEMP3),Y
0A19
A5
07
2710
LDA /PARNUM
ADVANCE CALLING
0A1B
0A
2720
ASL
A
ADDRESS OVER
0A1C
65
85
2730
ADC
/TEMP3
RETURN ADDRESSES
0A1E
95
08
2740
STA /PARPNT.X
0A20
A5
06
2750
LDA
/TEMP3+1
0A22
69
m
2760
ADC
m
0A24
95
09
2770
STA /PARPNT+l.X
0A26
A6
03
2780
LDX
/TEMPI
0A28
4C
09 09
2790
J MP
DECR
0A2B
C9
CC
2800
NOCALL
CMP
#204
0A2D
B0
22
2810
BCS
NORET
BRANCH IF NOT "RETURN"
0A2F
2820
* PROCESS UUL! CCHv'AU
0A2F
Al
08
2830
LDA
(PARPNT.X)
COMPUTE RETURN ADDRESS
0A31
65
00
2840
ADC
/SPNTR
ADDRESS
0A33
85
05
2850
STA
/TEMP3
0A35
F6
08
2860
INC
/PARPNT.X
0A37
D0
02
2870
BNE
N0CAR5
0A39
F6
09
2880
INC
/PARPNT+l.X
0A3B
Al
08
2890
N0CAR5
LDA
(PARPNT,X)
0A3D
65
01
2900
ADC
/SPNTR+1
0A3F
85
06
2910
STA
/TEMP3+1
0A41
8A
2920
TXA
GO TO
0A42
A8
2930
TAY
RETURN ADDRESS
0A43
Bl
05
2940
LDA
(TEMP3),Y
0A45
95
28
2950
STA
/PARPNT.X
0A47
C8
2960
I NY
0A48
Bl
05
2970
LDA
(TEMP3),Y
/PARPNT+1,X
0A4A
95
09
2980
STA
0A4C
A6
03
2990
LDX
/TEMPI
0A4E
4C
09 09
3000
J MP
DECR
0A51
D0
13
3010
NORET
BNE
NOTMPO
BRANCH IF NOT "TEMPO"
0A53
3020
* PROCESS TEMPO COMMAND
Apple Music Synthesizer
LISTINGS 10-6
0A53
Al
08
3030
LDA (PARPNT.X)
0A55
8D 3F 08
3040
STA PLACE1+1
0A58
F6 08
3050
INC /PARPNT.X
0A5A
D0 02
3060
BNE N0CAR7
0A5C
F6 09
3070
INC /PARPNT+l.X
0A5E
0A60
Al
8D
08
44 08
3083
3090
N0CAR7
LDA (PARPNT.X
STA PLACE2+1
0A63
4C
D3 09
3100
JMP FIXUP
0A66
C9
FE
3110
NOTMPO
CMP #254
0A68
B0 09
3120
BCS END
BRANCH IF NOT A "NOP"
0A6A
F6
08
3130
INC /PARPNT.X
0A6C
D0 02
3140
BNE N0CAR6
0A6E
F6
09
3150
INC /PARPNT+l.X
0A70
4C
D3 09
3160
N0CAR6
JMP FIXUP
0A73
68
3170
END
PLA
"PROCESS" END COMMAND
0A74
AA
3180
TAX
RESTORE X
0A75
60
3190
RTS
AND RETURN
0A76
3200
* SUB-OCTAVE DIVISOR TABLE
0A76
20
FD
3210
TABLE
DEF 64800
0A78
EB
F5
3220
DEF 62955
0A7A
EB
EE
3230
DEF 61163
0A7C
IE
E8
3240
DEF 59422
0A7E
82
El
3250
DEF 57730
0A80
17
DB
3260
DEF 56087
0A82
DA
D4
3270
DEF 54490
0A84
CB
CE
3280
DEF 52939
0A86
E8
C8
3290
DEF 51432
0A88
30
C3
3300
DEF 49968
0A8A
Al
BD
3310
DEF 48545
0A8C
3B
B8
3320
DEF 47163
0A8E
FD
B2
3330
DEF 45821
0A90
E4
AU
3340
DEF 44516
0A92
Fl
A8
3350
DEF 43249
0A94
22
A4
3360
DEF 42018
0A96
75
9F
3370
DEF 40821
0A98
EB
9A
3380
DEF 39659
0A9A
82
96
3390
DEF 38530
0A9C
39
92
3400
DEF 37433
0A9E
10 8E
3410
DEF 36368
0AA0
04 8A
3420
DEF 35332
0AA2
17
86
3430
DEF 34327
0AA4
45
82
3440
DEF 33349
0AA6
3450
* COMMAND PARAMETER AREA
0AA6
3460
TIME
BSS 2
TIME REMAINING
0AA8
3470
GAP
BSS 2
GAP SIZE
0AAA
3480
TRANS
BSS 2
TRANSPOSE VALUE
0AAC
3490
ATTACK
BSS 2
ATTACK RATE
0AAE
3500
DECAY
BSS 6
DECAY RATE
0AB0
3510
VOLUME
EQU DECAY+2
VOLUME LEVEL
0AB2
3520
SUSTAN
EQU VOLUME+2
SUSTAIN LEVEL
0AB4
3530
RELEAS
BSS 2
RELEASE RATE
0AB6
3540
CHAN
BSS 2
CHANNEL NUMBER
0AB8
3550
LOUDNS
BSS 2
CURRENT LOUDNESS
0ABA
3560
DOWN
BSS 6
CURRENT DECAY RATE
0ABC
3570
DESIRE
EQU DOWN+2
DESIRED LOUDNESS
0ABE
3580
CURSUS
EQU DESIRE+2
CURRENT SUSTAIN LEVEL
001A
3590
ASIZh
EQU *-TIME
PARAMETER AREA SIZE
0AC0
3600
BSS ASIZE*8
OTHER 8 PARTS
0B90
3610
END
10-7 LISTINGS Apple Music Synthesizer
CHROMA (INTEGER VERSION)
0000
10
* CHROMA
, SUBROUTINE
mm
20
*
mm
30
* BY JOHN RIDGES
mm
40
*
mm
50
* ALF PRODUCTS INC.
mm
60
*
2300
70
ORG $2000
2000
80
* INTEGER BASTC LINE IEADEF
2000
AC
90
DAT LINE2-*
2001
FF FF
100
DEF $FFFF
2003
5D
110
DAT $5D
2004
120
* PARAMETERS TO SUBF.OJ~TN£S
2004
m
130
PITCH
DAT
FREQUENCY IN QUARTER STEPS
2005
m
140
CHAN
DAT
CHANNEL TO BE PROGRAMMED
2006
m
150
SLOT
DAT
SLOT OF UNIT TIMES 16
2007
00
160
OFFSET
DAT
QUARTER STEP OFFSET
VARIABLE PULSE WIDTH
2008
m
170
WIDTH
DAT
2009
m
180
DIVSRL
DAT
RESULT DIVISOR
200A
m
190
DIVSRH
DAT
200B
200
* ENTRY
POINT FOR CHROMA SUBROUTINE
200B
18
210
CLC
200C
90 33
220
BCC ENTRY
200E
230
* ENTRY
POINT FOR PULSE SUBROUTINE
200E
38
240
SEC
200F
B0 30
250
BCS ENTRY
2011
260
* QUARTER MJiL DiVISUR
TABLE
2011
20 FD
270
TABLE
DEF 64800
2013
EB F5
280
DEF 62955
2015
EB EE
290
DEF 61163
2017
IE E8
300
DEF 59422
2019
82 El
310
DEF 57730
201B
17 DB
320
DEF 56087
201D
DA 04
330
DEF 54490
201F
CB CE
3^0
DEF 52939
2021
E8 C8
350
DEF 51432
2023
30 C3
360
DEF 49968
2025
Al BD
370
DEF 48545
2027
3B B8
380
DEF 47163
2029
FD B2
390
DEF 45821
202B
E4 AD
400
DEF 44516
202D
Fl A8
410
DEF 43249
202F
22 A4
420
DEF 42018
2031
75 9F
430
DEF 40821
2033
EB 9A
440
DEF 39659
2035
82 96
450
DEF 38530
2037
39 92
460
DEF 37433
2039
10 8E
470
DEF 36368
203B
04 8A
480
DEF 35332
203D
17 86
490
DEF 34327
203F
45 82
500
DEF 33349
2041
510
* SET UP SS'Si AUURLSS
FOR SUBROUTINES
2041
A9 00
520
ENTRY
LDA #0
SET TO LOW BYTE OF HI MEM
2043
85 54
530
STA /AUXL
2045
A9 00
540
LDA ffl
SET TO HIGH BYTE OF HIMEM-
2047
85 55
550
STA /AUXH
2049
8A
560
TXA
SAVE THE X REGISTER
204A
48
570
PHA
204B
90 4B
580
BCC CHROMA
EXECUTE DESIRED SUBROUTINE
Apple Music Synthesizer
LISTINGS 10-8
204D
590
* COMPUTE XTNDL. ACH:=(DIVSr
*(WIDTH+l))/256
204D
A0
B4
600
PULSE
LDY
jfREF+WIDTH
204F
A2
FE
610
LDX
H
STORE WIDTH IN XTNDL
2051
Bl
54
620
PULSE0
LDA
(AUXL),Y
AND DIVSRL IN XTNDH
2053
95
54
630
STA
/XTNDL+2.X
2055
C8
640
INY
2056
E8
650
INX
2057
D0
F8
660
BNE
>ULSE0
2059
Bl
54
670
LDA
(AUXL),Y
STORE DIVSRH IN ACL
205B
85
50
680
STA
/ACL
205D
86
51
690
STX
/ACH
CLEAR ACH
205F
A2
08
700
LDX
K
XTNDL. ACH. ACL :=(DIVSR*XTNDL)
2061
06
53
710
PULSE1
ASL
'XTNDH
+ACH. ACL. XTNDH
2063
26
50
720
ROL
/ACL
2065
26
51
730
ROL
/ACH
2067
26
52
740
ROL
/XTNDL
2069
90
13
750
BCC 1
'ULSE2
206B
18
760
CLC
206C
88
770
DEY
206D
Bl
54
780
LDA
(AUXL),Y
206F
65
50
790
ADC ,
'ACL
2071
85
50
800
STA /ACL
2073
C8
810
INY
2074
Bl
54
820
LDA
,AUXL),Y
2076
65
51
830
ADC ,
/ACH
2078
85
51
840
STA /ACH
207A
90 02
850
BCC F
'ULSE2
207C
E6
52
860
INC ,
'XTNDL
207E
CA
870
PULSE2
DEX
207F
D0
E0
880
BNE f
'ULSE1
2081
A0
Bl
890
LDY i
/REF+CHAN
2083
Bl
54
900
LDA
AUXL),Y
2085
30 0E
910
BMI f
'ULSE3
BRANCH IF NO-SEND FLAG SET
2087
C8
920
INY
OR IN SLOT TO
2088
11
54
930
ORA
AUXL),Y
FORM UNIT ADDRESS
208A
AA
940
TAX
208B
A5
51
950
LDA ,
'ACH
SEND XTNDL. ACH TO UNIT
208D
9D
84 C0
960
STA $C084,X
2090
A5
52
970
LDA /XTNDL
2092
9D
84 C0
980
STA $C084,X
2095
68
990
PULSE3
PLA
RESTORE X AND RETURN
2096
AA
1000
TAX
2097
60
1010
RTS
2098
A0
B0
1020
CHROMA
LDY f
WEF+PITCH
209A
Bl
54
1030
LDA (AUXL),Y
DIVIDE PITCH BY 24 TO GET
209C
A2 00
1040
LDX #0
A:=SUBOCTAVE
209E
C9
18
1050
CHR0M1
CMP #24
X:=OCTAVE
20A0
90
0E
1060
BCC (
:HR0M2
20A2
E9
18
1070
SBC I
m
20A4
E8
1080
INX
20A5
D0
F7
1090
BNE (
:hromi
20A7
1100
* LINE
ONE TRAILER
20A7
5D
5D
1110
DEF 5
.5D5D
20A9
5D
5D
1120
DEF 5
55D5D
20AB
01
1130
DAT ]
20AC
1140
* LINE
2 HEADE
:r
20AC
A8
1150
LINE2
DAT L
.INE3-*
20AD
FF
FF
1160
DEF |
>FFFF
20AF
5D
1170
DAT !
»5D
20B0
1180
* BACK
TO CHRC
IMA
20B0
0A
1190
CHR0M2
ASL /
\
GET THE PROPER DIVISOR
10-9 LISTINGS
Apple Music Synthesizer
20B1
69 BE
1200
20B3
A8
1210
20B4
Bl 54
1220
20B6
85 51
1230
20B8
88
1240
20B9
Bl 54
1250
20BB
CA
1260
20BC
30 06
1270
20BE
46 51
1280
20C0
6A
1290
20C1
CA
1300
20C2
10 FA
1310
20C4
69 00
1320
20C6
90 02
1330
20C8
E6 51
1340
20CA
A0 B5
1350
20CC
91 54
1360
20CE
C8
1373
20CF
A5 51
1380
20D1
91 54
1390
20D3
A0 B3
1400
20D5
Bl 54
1410
20D7
F0 5A
1420
20D9
1430
20D9
85 52
1440
20DB
E8
1450
20DC
86 53
1460
20DE
86 50
1470
20E0
86 51
1480
20E2
A2 08
1490
20E4
A0 B5
1500
20E6
06 50
1510
20E8
26 51
1520
20EA
26 52
1530
20 EC
90 13
1540
20EE
18
1550
20EF
Bl 54
1560
20F1
65 50
1570
20F3
8b 50
1580
20F5
C8
1590
20F6
Bl 54
1600
20F8
65 51
1610
20FA
85 51
1620
20FC
88
1630
20FD
90 02
1640
20FF
E6 52
1650
2101
CA
1660
2102
D0 E2
1670
2104
A0 10
1680
2106
06 50
1690
2108
26 51
1700
210A
26 52
1710
210C
26 53
1720
210E
38
1730
210F
A5 52
1740
2111
E9 21
1750
2113
AA
1760
2114
A5 53
1770
2116
E9 23
1780
2118
90 06
1790
211A
86 52
1800
ADC #REF+TABLE+1
TAY
LDA (AUXL),Y
STA /ACM
DEY
LDA (AUXL),Y
DEX
BMI CHR0M4
CHROM3 LSR /ACH
ROR A
DEX
BPL CHR0M3
CHR0M4 ADC #0
BCC CHR0M5
INC /ACH
CHR0M5 LDY #REF+DIVSRL
STA (AUXL),Y
I NY
LDA /ACH
STA (AUXL),Y
LDY #REF+OFFSET
LDA (AUXL),Y
BEQ CHROM0
FROM THE TABLE
DIVISOR: =DIVISOR/(2tOCTAVE;
ROUND THE RESULT
STORE THE RESULT
IN DIVSR
BRANCH IF
OFFSET
* COMPUTE DIVSR:=DIVSR-(DIVSR*0FFSET)/8993
STA /XTNDL SAVE OFFSET
I NX CLEAR XTNDH, ACL, AND ACH
STX /XTNDH
STX /ACL
STX /ACH
LDX #8 XTNDL. ACH. ACL:=(DIVSR*XTNDL)
LDY #REF+DIVSRL +ACH.ACL*256
CHR0M6 ASL /ACL
ROL /ACH
ROL /XTNDL
BCC CHR0M7
CLC
LDA (AUXL),Y
ADC /ACL
STA /ACL
I NY
LDA (AUXL),Y
ADC /ACH
STA /ACH
DEY
BCC CHR0M7
INC /XTNDL
CHR0M7 DEX
BNE CHR0M6
LDY #16
CHR0M8 ASL /ACL
ROL /ACH
ROL /XTNDL
ROL /XTNDH
SEC
LDA /XTNDL
SBC #33
TAX
LDA /XTNDH
SBC #35
BCC CHR0M9
STX /XTNDL
AC :=XTND. AC/8993
XTND:=XTND.AC MOD 8993
Apple Music Synthesizer
LISTINGS 10-10
211C
85
53
1810
211E
E6
50
1820
2120
88
1830
CHROM9
2121
D0
E3
1840
2123
A0
B5
1850
2125
Bl
54
1860
2127
38
1870
2128
[5
50
1880
212A
91
54
1890
212C
C8
1900
212D
Bl
54
1910
212F
E5
51
1920
2131
91
54
1930
2133
A0
Bl
1940
CHROM0
2135
Bl
54
1950
2137
30
11
1960
2139
C8
1970
213A
11
54
1980
213C
AA
1990
213D
A0 B5
2000
213F
Bl
54
2010
2141
9D
84 C0
2020
2144
C8
2030
2145
Bl
54
2040
2147
9D
84 C0
2050
214A
68
2060
CHROM:
214B
AA
2070
214C
60
2080
214D
2090
* LINE 2
214D
5D
5D
2100
214F
5D
2110
2150
CI
CC
2120
2152
C6 01
2130
2154
2140
LINE3
E0AC
2150
REF
2154
2160
* ON BASE
0050
2170
ACL
0051
2180
ACH
0052
2190
XTNDL
0053
2200
XTNDH
0054
2210
AUXL
0055
2220
AUXH
2154
2230
STA /XTNDH
INC /ACL
DEY
BNE CHR0M8
LDY #REF+DIVSRL
LDA (AUXL),Y
SEC
SBC /ACL
STA (AUXL),Y
I NY
LDA (AUXL),Y
SBC /ACH
STA (AUXL),Y
LDY #REF+CHAN
LDA (AUXL),Y
BMI CHROM:
INY
ORA (AUXL),Y
TAX
LDY #REF+DIVSRL
LDA AUXL),Y
STA $C084,X
INY
LDA (AUXL),Y
STA $C084,X
PLA
TAX
RTS
TRAILER
DEF $5D5D
DAT $5D
DEF $CCC1
DEF $1C6
EQU *
EQU 512-*
PAGE
EQU $50
EQU !I51
EQU $52
EQU XTNDL+1
EQU $54
EQU AUXL+1
END
DIVSR:=DrVSR-AC
BRANCH IF NO-SEND FLAG SET
OR IN SLOT TO
FORM UNIT ADDRESS
SEND DIVISOR TO UNIT
RESTORE X AND RETURN
H1MEM LOCATION REFERENCE
INDEX
***DISK, in ENTRY: 3-31
*, in ENTRY
., in ENTRY
3, in ENTRY
3-3, 3-4
3-6, 3-8, 3-36
3-17 to 3-18, 3-36
Access socket: 11-3, 11-4 to 11-5,
11-7
ALBUM file: 5-1 to 5-2
"America": 3-2, 3-5, 3-10, 3-11
Applesoft: 1-3, 2-2, 3-1, 3-40, 4-1,
4-2, 6-1, 6-2, 6-4 to 6-5, 6-6,
6-13, 7-2, 7-3, 7-5
Asterisk, in ENTRY: 3-3, 3-4
ATTACK, in ENTRY: 3-22, 3-24 to 3-26,
3-36
ATTACK RATE, in PERFORM: 6-11, 6-14,
6-15
Audio cable: 1-1 to 1-2
Audio outputs: 11-3, 11-6
Cable: 1-1 to 1-2
CALL, in ENTRY: 3-18 to 3-20, 3-36 to
3-37
CALL, in PERFORM: 6-9 to 6-10, 6-13,
6-14, 6-17
CHANNEL NUMBER, in PERFORM: 6-9, 6-12,
6-14
CHROMA program: 2-3, 7, 10-7 to 10-10
CHROMA variable: 7-1
Circuit card: 11-9
Command numbers, in PERFORM: 6-14
Commands, in ENTRY: 3-28 to 3-38
Commands, Type 1, in ENTRY: 3-28 to
3-31
Commands, Type 2, in ENTRY: 3-31 to
3-34
Commands, Type 3, in ENTRY: 3-34 to
3-35
Commands, Type 4, in ENTRY: 3-35 to
3-38
Commands, Type A, in PERFORM: 6-9 to
6-10
Commands, Type B, in PERFORM: 6-10 to
6-11
Commands, Type C, in PERFORM: 6-11
Connection, Timing Mode: 9-1 to 9-2
Connector locations: 11-7
Copying songs with ENTRY: 3-40
Configuration, song: 6-6
Correcting mistakes, in ENTRY: 3-12
CURRENT DECAY: 3-23 to 3-24, 6-11, 6-15
to 6-1/
CURRENT LOUDNESS: 3-23 to 3-24, 6-11,
6-15
CURRENT SUSTAIN LEVEL: 3-23 to 3-24,
6-11, 6-15 to 6-17
Cursor, in ENTRY: 3-2 to 3-8, 3-15
DECAY, in ENTRY: 3-22, 3-24 to 3-26,
3-37
DECAY RATE, in PERFORM: 6-11, 6-14, 6-17
DEL, in ENTRY: 3-13 to 3-14, 3-31
DELETE, in ENTRY: 3-31 to 3-32
DESIRED LOUDNESS: 3-23 to 3-24, 6-11,
6-15 to 6-17
Dimensions, board: 11-8
DISCO: 2-3, 5
Divisor calculation: 8-4
Dot, in ENTRY: 3-6, 3-8, 3-36
EDIT, in ENTRY: 3-9, 3-11, 3-15, 3-32,
3-34
END, in ENTRY: 3-4, 3-5
END, in PERFORM: 6-10, 6-12, 6-14, 6-17
Entering a simple song, in ENTRY: 3-1
Entering rests, in ENTRY: 3-15
ENTRY program: 2-3, 3
Envelopes, in ENTRY: 3-22 to 3-26
Enveology: 3-23
Flat, in ENTRY: 3-29, 3-36
GAP, in ENTRY: 3-22 to 3-26, 3-37
GAP SIZE, in PERFORM: 6-10 to 6-11,
6-14, 6-15
GOTO, in ENTRY: 3-29 to 3-30
Initialization, synthesizer: 6-6, 8-1
to 8-2
INITIALIZER, in CHROMA: 7-1 to 7-2
Insert, in ENTRY: 3-5, 3-14, 3-29
Installation: 1
INTEGER, in ENTRY: 3-30, 3-40
Introduction: 2
INTRODUCTION program: 2-2
KEY, in ENTRY: 3-2, 3-7, 3-17, 3-19,
3-34 to 3-36, 3-41
Loft movement, in ENTRY: 3-29
LENGTH, in ENTRY: 3-21, 3-30, 3-36
LOAD, in ENTRY: 3-19 to 3-20, 3-32
LOAD, in PLAY: 4-1
MEASURE, in ENTRY: 3-30
Measure bars, in ENTRY: 3-6, 3-15, 3-22
Menu paddle, in ENTRY: 3-3 to 3-9, 3-28
to 3-29, 3-31, 3-35 to 3-36
Mnemonic variable names, in CHROMA: 7-2
Monitor: 3-1
"Music Notation": 3-26
Natural, in ENTRY: 3-29, 3-36
NEW, in ENTRY: 3-2, 3-15, 3-32 to 3-33
Note duration symbols, in ENTRY: 3-28 to
3-29, 3-36
Note paddle, in ENTRY: 3-3, 3-5 to 3-8,
3-36
Notetrinos: 3-24
OFFSET, in CHROMA: 7-4
Operating tips: 1-4
Paddle 0: see menu paddle
Paddle 1: see note paddle
Paramatron, high power: 3-24
PART, in CHROMA: 7-1, 7-3, 7-5
PART, in ENTRY: 3-9, 3-11, 3-27, 3-30
Part data: 6-12
PARTIAL INITIALIZER, in CHROMA: 7-2 to
7-3
Partial starting measure: 3-39
PERFORM program: 2-3, 6, 10-1 to 10-6
PITCH, in CHROMA: 7-1, 7-3 to 7-4
PITCH+2: 7-1, 7-3, 7-5
PITCH+5 & PITCH+6: 7-1, 7-5
PITCH, in PERFORM: 6-11, 6-14, 6-17
PLAY, in ENTRY: 3-8 to 3-12, 3-18, 3-20
3-30 to 3-31
PLAY, in PLAY: 4-1
PLAY program: 2-3, 4
POKE, in ENTRY: 3-37
Ports: 8-1 to 8-3
Ports to 2: 8-1
Ports 3 & 7: 8-1 to 8-2
Ports 4 to 6: 8-2 to 8-3
Problem checklist: 1-5
PULSE: 7, 7-1, 7-5
QUARTER, in ENTRY: 3-20 to 3-21, 3-22,
3-35, 3-36, 3-39, 3-41
Reading, recommended: 3-26
Recommended reading: 3-26
Relative addresses: 6-11 to 6-12
RELEASE, in ENTRY: 3-22, 3-24 to 3-27,
3-37
RELEASE RATE, in PERFORM: 6-11, 6-14,
6-16 to 6-17
Repair: 1-4
Repeated sections: 3-17
Reset: 3-19, 3-40, 4-2
REST, in ENTRY: 3-15 to 3-17, 3-35,
3-39
REST, in PERFORM: 6-11, 6-14
RETURN, in PERFORM: 6-10, 6-13, 6-14,
6-17
Right movement, in ENTRY: 3-4, 3-29
'Row, Row, Row your Boat": 3-17
SAVE, in ENTRY: 3-20, 3-31
Schematic: 11-4 to 11-6
Selected hex addresses, in ENTRY: 3-41
Session, sample, in PERFORM: 6-7 to 6-8
Sharp, in ENTRY: 3-12, 3-29, 3-36
Signal descriptions: 11-2
SLOT & UNITS: 1-3, 2-2. 3-1, 4-1, 6-6,
6-7, 6-8, 6-10, 7-1, 7-2, 7-6, 8-1
Song breakdown: 3-27
Song data, in PERFORM: 6-11 to 6-13
Song data format, in ENTRY: 3-41
Speaker/arrow, in ENTRY: 3-8, 3-29
SPEED, in ENTRY: 3-15, 3-21, 3-22, 3-33
Start of data: 6-12
STEREO, in ENTRY: 3-15, 3-33 to 3-34,
9-2
Stereo, standard, in ENTRY: 3-32
STOP, in PLAY: 4-1 to 4-2
STOP, in PERFORM: 6-10, 6-12, 6-14,
6-16
SUBROUTINE, in ENTRY: 3-17 to 3-20,
3-34
Subroutine data: 6-12 to 6-13, 6-14
Suggested speed, reading: 6-6 to 6-7
Summary of commands, in ENTRY: 3-28 to
3-38
SUSTAIN, in ENTRY: 3-22, 3-24, 3-26,
3-37
SUSTAIN LEVEL, in PERFORM: 6-11, 6-14,
6-17
Television: 3-1
TEMPO, in ENTRY: 3-37
Tempo, in ENTRY: 3-20 to 3-21
TEMPO, in PERFORM: 6-13, 6-14, 6-17,
9-2
Tempo, in PERFORM: 6-7
Temporaries, in PERFORM: 6-13
TIE, in ENTRY: 3-14 to 3-16, 3-36
TIME, in ENTRY: 3-3, 3-6, 3-17, 3-35,
3-39, 3-41
Time periods: 3-5, 3-6, 3-20 to 3-21,
3-37, 3-39, 6-13
Timi ng mode: 9
Timing requirements, electronic: 11-1
Tips, for ENTRY: 3-39
TRANSPOSE, in ENTRY: 3-18 to 3-19,
3-38, 3-40, 3-41
TRANSPOSE, in PERFORM: 6-10, 6-14
Triplets, in ENTRY: 3-17 to 3-18, 3-36
TSLOT: 3-1, 4-1, 6-8, 9-2
TTL input requirements: 11-3
Tuning: 8-5
UNITS: see SLOT & UNITS
<value>, in ENTRY: 3-35
VOL0, in CHROMA: 7-2
VOLUME, in ENTRY: 3-22, 3-24, 3-26,
3-38
VOLUME LEVEL, in PERFORM: 6-11, 6-14,
6-17
WIDTH, in CHROMA: 7-1, 7-5
X notes, in ENTRY: 3-21
Apple Music Synthesizer
CIRCUITRY 11-2
SIGNAL DESCRIPTIONS
Pin
Name
2
A0
3
Al
4
A2
18
R/W
23
INT OUT
24
DMA OUT
25
+5V
26
GND
27
DMA IN
28
INT IN
33
-12V
41
DEV SEL
42
D7
43
D6
44
D5
45
D4
46
D3
47
D2
48
Dl
49
D0
50
+12V
Desc.
Address line 0. 1 LS TTL load.
1. 1 LS TTL load.
2. 2 LS TTL loads.
Read/Write. 1 LS TTL load.
Connected to pin 28.
Connected to pin 27.
+5 volts, * 5%. 130 mA typical, 215 mA max.
Signal ground.
Connected to pin 24.
Connected to pin 23.
-18 volts to -10.8 volts. 20 mA typical, 30 mA max.
Board enable. 2 LS TTL loads.
Data bus bit 7. 1 LS TTL load.
" 6.1 LS TTL load.
""5.1 LS TTL load.
" 4. 1 LS TTL load.
3.1 LS TTL load.
2.1 LS TTL load.
" 1.1 LS TTL load.
" " 0. 1 LS TTL load.
+10 volts to +18 volts. 25 mA typical, 35 mA max.
Supply voltages (+5V, -12V, and +12V) should be regulated.
11-3 CIRCUITRY Apple Music Synthesizer
A4 ACCESS SOCKET
Pin Name Desc.
1 +12 Connected to +12 volts.
2 NC
3 OUT0 TTL output of channel 0. Drives 3 LS loads.
4 0UT1 " " " " 1. Drives 3 LS loads.
5 0UT2 " " " " 2. Drives 1 LS load.
6 NC
7 -12 Connected to -12 volts.
8 GND Signal ground.
9 NC
10 NC
11 AUD Audio out. Source/sink 6.5 mA max. 2.25 to 7.25 volts.
12 NC
13 NC
14 +5 Connected to +5 volts.
TTL INPUT REQUIREMENTS
WIN MAX
High Level Input Voltage 2 volts 5.5 volts
Low Level Input Voltage volts 0.8 volts
1 LS load = 20 uA at 2.7 volts input and -0.4 mA at 0.4 volts input.
AUDIO OUTPUTS
Impedance: 700 ohms typical. Output: 0.91 volts peak.
Apple Music Synthesizer
CIRCUITRY 11-4
SCHEMATIC TERMINALS
Connection to pin on Apple II Peripheral I/O Bus
Internal connections
~J Connection to Audio Out molex pin
-<C I Connection to pin on Access Socket A4
Boldface characters on schematic (eg. C2) refer to component locations.
See silkscreen artwork for locations.
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11-5 CIRCUITRY
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11-9 CIRCUITRY
Apple Music Synthesizer
Apple Music Synthesizer
CIRCUITRY 11-10
11-11 CIRCUITRY
Apple Music Synthesizer
01
Live Music
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